Friend of THE HOBBLEDEHOY Chris Crilly (aka Fiddler72 ) led this 70s-era Montreal-based Celtic group BARDE. The band released two LP’s at the time and, according to Chris “had considerable critical, if not overwhelmingly commercial, success in North America and elsewhere. ” We can understand why after listening to this lovely treatment of O’Carolan’s Fanny Power.
Turlough O’Carolan, (1670 – 25 March 1738) was a blind Celtic harper, composer and singer in Ireland whose great fame is due to his gift for melodic composition. Although not a composer in the classical sense, Carolan is considered by many to be Ireland’s national composer. Some of Carolan’s own compositions show influences of the style of continental classical music, whereas others such as Carolan’s Farewell to Music reflect a much older style of “Gaelic Harping”.
Frustrated about her career and fighting depression, the Canadian songwriter left the industry in 2014 to open a coffee shop called Quitters – before a partner ‘tried to deconstruct my sense of self’
When Kathleen Edwards opened Quitters coffee shop in Stittsville, Ottawa, in late 2014, customers would ask if she was the country singer. Yes, in a manner of speaking, she was. “Great!” they would say. “I’ll have a coffee.” Edwards laughs. “It was a wonderfully freeing experience where I didn’t have to be so precious about who I thought other people should think I was.”
Edwards is not really a country singer, but rather a Canadian songwriting star of two decades whose wry, openhearted Americana brings to mind that of Tom Petty. Six years ago, expectations around who she was crushed her, prompting her to quit music and start the cafe. A new album, Total Freedom, marks a fresh start. Her brother suggested she put a bald eagle on the cover to emphasise the title. “I know it sounds a little ‘doo doo-doo!’” says Edwards, mimicking a military bugle as she FaceTimes from her bed, her red hair tied back. “But it was the essence of where I’ve got to.”
Among fans, Edwards is beloved for her sharp lens on relationships and mounting feelings of discontent, and for putting a Springsteen-ish spin on Canadian lore, naming hockey players and domestic murder victims in her songs. Her 2012 album, Voyageur, attracted a different kind of attention. It was produced by Justin Vernon of Bon Iver, then on his own skyward trajectory. He was also Edwards’ boyfriend, following her divorce from the Canadian musician
That became the whole story: critics asking “if this was my divorce record produced by my new boyfriend”, Edwards says bitterly. “The reason that I had a record deal must have been because my work was OK, not because I made really good choices in my romantic partners.” She had hoped that Voyageur would elevate her career – not that that was why she made music, she clarifies. Yet Vernon’s mammoth success became a stark point of comparison: “It was hard getting a call saying: ‘I’ve just played to 20,000 people in Melbourne,’ and I can’t even sell 200 tickets in LA.” Continue reading →
The singer-songwriter, now 81, is frank about his own work and refreshingly open to today’s music.
If you haven’t laid eyes on the singer-songwriter Gordon Lightfoot in a while, you may be stunned at the beginning of this straightforward, engaging documentary about his life and work, directed by Martha Kehoe and Joan Tosoni. Now 81 years old, Lightfoot doesn’t resemble the curly-haired, oft-mustachioed, outdoorsy-looking troubadour of his 1970s heyday. Skinny, his clean-shaven face now long and almost gaunt, his hair straight and combed back, he looks like an aged underground rocker. Continue reading →