Rumours is Fleetwood Mac’s 11th studio album. Most people find this astonishing, perhaps thinking it’s just their second after Fleetwood Mac, which came out in 1975. In fact, the band formed in 1968 (the name comes from the rhythm section – Mick Fleetwood and John McVie) and began life as a straight ahead British blues band in the John Mayall tradition. Some early songs from that incarnation – “Oh Well” and “Albatross” (No. 1 in the UK) - are well worth a listen for fans of the genre.
Fast forward to the mid-seventies. Fleetwood Mac had relocated to Southern California and were looking for a new guitar player to replace Bob Welch. After hearing the track “Frozen Love” being recorded at the Sound City Studios by Buckingham and Nicks, Mick Fleetwood asked Lindsay Buckingham to join the band. Buckingham replied that he and Stevie were a package, and so Fleetwood Mac became five: Mick Fleetwood, John McVie, Christine McVie, Lindsay Buckingham and Stevie Nicks. For a first-person account of how this happened check out Dave Grohl’s fantastic documentary, Sound City.
The first LP from the new Fleetwood Mac was a great success. It sold over four million copies and has one of my favourite Fleetwood Mac songs of all time, Christine McVie’s “Over My Head.” But the original release of Rumours took the band’s success to an entirely different level. It has sold more than 40 million copies and was pretty much No. 1 world-wide in 1977. In fact it stayed at No. 1 on the US album charts for more than 30 weeks.
The 2013 reissue (the subject of this review) has been re-mastered and contains significant additional material. The original 11 song LP has been augmented by the strong B-side “Silver Springs.” Disc 2 contains the Live 1977 Rumours World Tour and the third disc has 16 out-takes from the recording sessions. The main album holds up extremely well. The song writing remains fantastic. The story behind Rumours is now well known – the McVies were in the middle of a divorce, Buckingham and Nicks were breaking up and Mick Fleetwood’s wife was having an affair with his best friend. The resulting conflict and emotional turmoil led to some of their best efforts – Christine McVie’s “You Make Loving Fun” about her new love, Lindsay Buckingham’s classic “Go Your Own Way” (‘Loving you/ isn’t the right thing to do’) and Stevie Nick’s response in “Dreams” (‘Now here you go again/you want your freedom’) still resonate today.
The playing is equally superb and the sound quality, fantastic for the time, still sounds great today. Favourite tracks for me are “Go Your Own Way” and Nick’s “Gold Dust Woman.” If you want to see Stevie Nicks at her best check out “Stevie Nicks rare 1981 solo Gold Dust Woman” on YouTube. It’s an eight minute version recorded at the Roxy with Bob Welch and friends (great cowbell by Mick Fleetwood) that shows how this group could rock.
The additional material is only mildly entertaining. It is very interesting however to see how some songs have developed from their early and acoustic versions on the third disc.
I was a graduate student in Southern California when Rumours came out in 1977. The gossip around campus was that one of my profs was travelling in the same crowd as Stevie Nicks, which, needless to say, heightened our interest in Fleetwood Mac. I’ve seen them perform several times, including the Rumours tour. Their next LP, Tusk, was a big disappointment for me (the USC marching band played a prominent role) and represented the end of an era. I’m still a huge fan of Fleetwood Mac, though – both eras!
By Phil Wood, Dean of Students
Halcyon
Ellie Goulding
In 2010, Ellie Goulding burst onto the indie pop scene with her debut album Lights. Garnering both critical and commercial success, she was heralded as one of Britain’s greatest exports. Attempting to surpass a successful first album can be difficult, but Ellie Goulding has met this challenge with expert skill. Halcyon improves on where Lights left off and further cements Goulding’s distinct style.
Halcyon is carefully produced, utilizing orchestral instruments and a bevy of back-up singers. These new elements add tremendous depth and subtlety to the record’s tracks. In just two years it seems that Goulding has matured both technically and emotionally as an artist. With a perfect jumble of electro and techno beats, Halcyon is bursting with catchy tunes. “Figure 8” will prove to be a massive club hit while “Explosions” will have you reaching for a box of tissues. And with the help of Calvin Harris, “I Need Your Love” is one of the record’s most successful songs.
Although Halcyon is distinctly pop, it will be sure to gain approval in both the mainstream and alternative music worlds - a feat that few records have been able to achieve.
By: Tina Cody
Local Business
Titus Andronicus
The most obvious point of comparison for Local Business is undoubtedly The Monitor, Titus Andronicus’ Civil-War themed 2010 LP that somehow found the punk-rock ethos in the writings of Abraham Lincoln. Local Business sees the New Jersey rockers reining in this ambitiousness somewhat, as they forsake both an overarching concept and bagpipe breakdowns.
An even more fitting counterpart for Local Business, however, might be Japandroids’ Celebration Rock from earlier this summer. This album caused a blogosphere sensation with its blitzkrieg riffage and post-adolescent rebelliousness, making it a lock for upcoming best-of-the-year lists. Hopefully Local Business is also so recognized, however, because it surpasses the thematically and sonically similar Celebration Rock in several regards.
While Japandroids’ only dynamics are faster and louder, Titus Andronicus craft epics like “Still Life with Hot Deuce on Silver Platter,” with three-guitars and even more choruses. Moreover, while Japandroids repeat the same fist-pumping slogans, Titus Andronicus lead vocalist Patrick Stickles channels a similar youthful swagger with rap-battle-level wit and wordplay. Celebration Rock gets the blood pumping, but when the best rock albums of 2012 are chosen don’t forget to support your Local Business.
By: Cooper Long
Daughter of Cloud
Of Montreal
Of Montreal is one of those strange new-wave bands, showcasing an amalgam of musical styles that sometimes doesn’t even make sense. Generally speaking, their albums sound like something David Bowie and Prince might come up with if they dropped acid together in the middle of a carnival. Daughter of Cloud, a compilation of rare recordings from 2009-12, is no exception.
I’m going to be honest, I don’t even know what I think of the band, and this is the third album of theirs I’ve listened to. The elements of funk are well placed, and the dreampop feel of the production is nice, but the frequent mid-song genre changes always throw me off. Highlights include the Sgt Pepper-esque “Tender Fax,” the falsetto-powered “Georgie’s Lamnets,” and the lyrically gorgeous “Psychotic Feeling.”
The rest of the songs all have these tiny, 8-bar gems of super tight production and dynamic melody, but the illusion is shattered when – seemingly without cue – the song recedes into atmospheric background music while frontman Kevin Barnes rants about erections (not joking, listen to the hilariously titled “Jan Doesn’t Like It”). Too bad I can’t rate this album “question mark” out of five.
By: Brody Weld
The Soul Station Vol. 1: The Songs of Sam Cooke - A Tribute
Jarvis Church
Jarvis Church is a soul singer! The former frontman for the Philosopher Kings (as Gerald Eaton) has done some outstanding work as a producer for Nellie Furtado but his passion is behind the mic, not the board. Unlike his 2009 release The Long Way Home where he explores his personal musical roots, here he’s channeling Sam Cooke – right down to the tight suit and look.
The release of this CD is very timely. It’s been almost 50 years since the passing of Sam Cooke (Dec. 11, 1964), but his songs are timeless. In fact, Barack Obama used the lead track on this CD, “A Change is Gonna Come” as his theme song in the 2008 election campaign (Seal had a hit with it then). Perhaps Church will get a sales burst this time.
The music was recorded “live and off the floor,” which means that all the musicians played the songs as though they were performing them live – no overdubs or studio tricks. Church has surrounded himself with some fantastic musicians, notably Michael Kaeshammer (who’s worth the price of admission in concert himself).
All-in-all a cool CD, the first in a series that commemorates the soul greats (Otis Redding next?). It’s mainly covers, but the three new songs fit in well, especially “She Keeps Me Up All Night.” If you want to learn more about Sam Cooke, check out the book “Dream Boogie” by Peter Guralnick. I’ll loan you my copy. Meanwhile, check out The Soul Station.
By: Phil Wood
Artist: Swans
Album: The Seer
Released: August 28, 2012
It reportedly took thirty years to make, but it’s finally here. A massive, monolithic, double-disc release spanning nearly two hours, Swans’ The Seer is anything but an easy listen; songs repeat the same two-note progression for several minutes before abruptly turning into avant-garde campfire sing-a-longs or bagpipe solos. Additionally, any form of traditional song structure is pretty much disregarded, with two tracks hovering around twenty minutes and one even topping thirty (!).
Indeed, the album feels more like a long trek than anything, and the discordant atmosphere throughout only adds to this sensibility. Some listeners may be turned off by the record’s deliberate pace and lengthy repetitious stretches, but these are all part of that aforementioned trek, one that is just as rewarding as it is challenging. The Seer is a masterfully crafted, painstakingly detailed album and the best of the year so far. It may have been thirty years in the making, but it was thirty years well spent.
Alexander Sallas
It’s epic, it’s loud... it’s Epicloud! The latest solo release from musical mad scientist Devin Townsend is also his most grandiose yet, combining layers of heavy guitars, choirs, uplifting keyboards and pounding drums. And of course, insanely diverse vocals from the man himself into one enormous-sounding record.
It’s actually a happy, upbeat listen for the most part, with great performances across the board (particularly guest vocalist Anneke Van Giersbergen). However, the problem is that some of the melodies are all too familiar, repeated for needlessly long stretches. Furthermore, the record lacks the depth of Townsend’s previous work. But that’s not to say it’s a bad album by any means – the song “Epicloud” is a fun listen that definitely lives up to its title and the name of the album.
Alexander Sallas
Released: June 12, 2012
I have been a big fan of Colin James since Little Big Band in 1993. During the intervening years he has progressed from swing blues into the rock/soul/blues groove of “Fifteen” his 15th(!) and most recent CD.
James is originally from Saskatchewan but he gets a lot of help from local talent like Gordie Johnson, Tom Wilson and Ron Sexsmith for this record.
Of his new songs, “Sweets Gone Sour” and “I’m Diggin’” are the best. The cover of Robert Palmer’s “Sneakin’ Sally Through The Alley” brings back memories. And big props go to the cover of “Oh Well” by the original Peter Green’s Fleetwood Mac – it sounds like real British Blues, before the sugar coating added in the seventies.
Colin James is on tour this Fall; check him out at the Sanderson Centre in Brantford on October 26.
Phil Wood
Released: September 7, 2012
If you bought the Canadian punk rock band’s fourth studio album expecting a jaw-dropping masterpiece or a musically revelatory leap in the Billy T progression, you may have to look elsewhere. What you can expect from Dead Silence is a firm step in the right direction from a band that hasn’t failed to deliver in terms of consistency with each release. From the top, we’re graced with the haunting, hymnal intro of “Lonely Road To Absolution,” which features some of guitarist Ian D’Sa’s most impressive harmonies to date. Any hopes that this atmospheric beginning might indicate a more progressed Billy Talent sound are dashed as soon as the familiar galloping guitar rhythms of the album’s single, “Viking Death March,” are heard.
The rest of the album is exactly what diehard fans will expect: repetitive but well-crafted vocal hooks, easy-to-decipher lyrics, unique progressions, crisp guitar tones, climactic bridges, and the iconic triumphant howls of frontman Ben Kowalewicz. Tracks like “Stand Up And Run” remind us that Billy Talent doesn’t need to stick to a full-speed-ahead formula to sound good, while the more traditionally punchy “Man Alive!” stand as testament to just how well they can execute all the old tricks. Dead Silence certainly isn’t the refreshing, matured album that we should perhaps be expecting after three very linear (albeit solid) releases. But if you’re looking for talent, the boys still live up to the band name.
Brody Weld
Released: September 3, 2012
Jens Lekman has always been at his best when he’s at his saddest, so the release of his breakup album, I Know What Love Isn’t, was an exciting prospect. But writing 40 minutes of music about heartbreak clearly comes with some creative constraints: while Lekman’s characteristic wit is still on display, his third LP largely plays it safe musically.
There’s none of the left-field pop weirdness of “It Was A Strange Time In My Life,” or the canned steel drums of “Happy Birthday, Dear Friend Lisa.” Instead, for an album about heartache from a man who once sang “It’s a perfect night for feeling melancholy,” Love is a pretty upbeat record. “Erica America” finds Lekman perfecting his signature slow-burning cabaret, while the funk guitar and bongos of “The World Moves On” recall the poppier moments of 2007’s Night Falls Over Kortedala. Far from the lachrymose fare one might expect, I Know What Love Isn’t comes off as emotionally flat compared with the intensity (and idiosyncrasy) of Lekman’s past work. But its smooth, lounge-y arrangements allow Lekman to showcase his charm and pop sensibilities, and ultimately make for an endearing album.
Michael Skinnider
McMaster’s student population has taken off since 2000, and last year, the university hit its operating peak.
An unexpected surplus of students chose McMaster last summer – about 400 students above target – which meant that the university couldn’t accommodate every student who wanted and was eligible to live in residence. First years were offered $1000 to live off campus, plus priority placement in their second year.
Though last year’s large freshman cohort was a provincial blip, with a record-setting 90,000 first years entering universities across Ontario, rising enrolment numbers are a growing concern.
A campus capacity study based on data from 2008-2009 concluded that McMaster needed approximately 12 per cent more space than it had in order to support student enrolment.
As of 2009, residential facilities have the largest percentage of space on campus at 20.5 per cent, followed by academic departmental offices and research labs for faculty and graduate students. Classroom and library facilities comprise about 8.5 per cent each, and common-use student activity space covers 1.5 per cent.
Dean of Students and Associate Vice-President (Student Affairs) Phil Wood, who was on the study’s steering committee, said there is an ongoing effort to optimize the use of classroom facilities and to improve amenities such as wireless Internet access.
As McMaster’s student population grows, so does the need for more study space on campus.
In 2009, Thode Library’s third floor was renovated and became home to the iSci Program, and the following year, the fourth floor of Mills Library became the Lyons New Media Centre. While the renovations were good news to certain programs, they meant the loss of study space for the general student population.
In response to growing demand, the University administration and McMaster Students Union (MSU) have worked to secure more permanent study space and 24-hour access to Thode Library during exam time.
Current MSU president Siobhan Stewart has proposed an agreement to keep Bridges Café open longer during exam periods, beginning this December.
Vivian Lewis, Acting University Librarian, said the number of seats in libraries has increased dramatically from about 1,900 in 2004 to just over 2,900 in 2009. This past January, the entire book section on the second floor of Thode Library was moved to the basement, making way for 390 individual carrels in a new quiet study area.
“We’ve been investing a lot of time and intellectual labour into creating more seats for students,” said Lewis. “At the same time, we have to consider the quality of the work environment and the valuable collections we have in our libraries.”
Huzaifa Saeed, VP (Education) of the MSU, said that apart from overcrowding on campus, the MSU is concerned about higher student-to-faculty ratios and a decrease in the flexibility of course options for students.
“Rising enrolment is only one piece of the puzzle,” he added. “We are currently researching best practices across the higher education sector to improve quality of education for large class sizes.”
Although official numbers won’t be released until November, first-year confirmation numbers from the Ontario Universities’ Application Centre suggest that incoming class will be smaller than last year’s. This time around, the residence space issue is not so dire.
Even so, the number of students enrolling in Ontario universities has been steadily climbing (from 275,000 in 2000 to 434,000 in 2012). A recent report from the Council of Ontario Universities says that province-wide enrolment is up 2.5 per cent from last year. The challenges that come with this are ever present.
Projects that would increase McMaster’s campus capacity include the new $65-million Wilson Building dedicated to liberal arts studies, on which construction will begin next year, as well as a downtown health campus that will be a facility for teaching, research and healthcare delivery.
The Wilson Building will be used by more than half of McMaster’s student population, and the new health campus, to open in 2014, is expected to serve 4,000 students.
