From: owner-headline-girl-digest@smoe.org (headline-girl-digest) To: headline-girl-digest@smoe.org Subject: headline-girl-digest V5 #225 Reply-To: headline-girl@smoe.org Sender: owner-headline-girl-digest@smoe.org Errors-To: owner-headline-girl-digest@smoe.org Precedence: bulk headline-girl-digest Friday, October 25 2002 Volume 05 : Number 225 Today's Subjects: ----------------- just saying hello.......(cross post) [Detroit Rockcity ] Globe: A tale of two encores [Paul Schreiber ] Chart: LIVE: Emm Gryner with Andy Stochansky [Paul Schreiber ] Re: Chart: LIVE: Emm Gryner with Andy Stochansky [Marc McRae Subject: just saying hello.......(cross post) Some of you might remember me while others might have no idea who I am but I just wanted to stop on by and say hello to everyone and let them know how much I miss all of you. I hope you are all doing great and please drop me a line if you want to catch up. take care Attila p.s. I love Alias attila@dreamsawake.com IM: DreamsAwakeMusic dreams awake music www.dreamsawake.com reviews * booking * publicity * photography * promotions * net radio Our truest life is when we are in dreams awake. -- Henry David Thoreau check out dreams awake artist Kristin Diable www.kristindiable.com ------------------------------ Date: Wed, 23 Oct 2002 22:03:36 -0700 From: Paul Schreiber Subject: Globe: A tale of two encores > If Stochansky's set was all rock and no crock, Gryner's headlining > slot was all pose and no clothes. Tarted up in a pair of pink and > black slips and stomping around in knee-high space boots, the > 26-year-old Gryner looked more like a teen hooker auditioning for > MuchMusic. ouch. Full review below. http://www.globeandmail.com/servlet/ArticleNews/PEstory/TGAM/20021021/ RVSTOCN/Music/theartsMusic/theartsMusic_temp/2/2/3/ A tale of two encores By DEREK RAYMAKER Special to The Globe and Mail Monday, October 21, 2002  Page R4 Emm Gryner With Andy Stochansky At the Palais Royale in Toronto on Saturday In these axis-of-evil times, the world seems to crave the earnest emotional ballast that can only come from vulnerable pop-grooving singer-songwriters who relish the messy work of confronting their own intimate failure. But the line between charming and indulgent is a thin one, as witnessed in shocking-pink clarity during a Toronto songwriter hoedown at the Palais Royale Saturday night. The affable Andy Stochansky stayed on the charming side with a powerful, even danceable set of soaring pop meditations and muddled fantasy worlds. Sadly, Emm Gryner instead took the audience on a technicolour tour of her diary and gave the vibe that it was a tedious chore. Stochansky's 65-minute set drew heavily from his new album, Five Star Motel, produced by Ottawa pop master Ian LeFeuvre, and featuring fewer instruments and more volume and focused arrangements than his previous two albums. The messily handsome Stochansky struck a quirky figure on stage, as if he was on the way to buy a loaf of bread, but instead found himself in front of 400 well-read, well-bred and shockingly unironic Starbucks regulars. Stochansky's set resembled a pep rally for women of depth whose beauty is not readily apparent to the obtuse lads for whom they fall. He takes a whisper and turns it into a roar in about three nanoseconds, and can slip from the playful notes of innocent longing, in songs such as 22 Steps and Paris, into the eyes-closed, anguished Miss USA with no effort and complete assurance. But Stochansky's guitar-driven jam band really scores with the LeFeuvre signature -- massive pulsating power riffs colliding head-on with a vulnerable chorus, executed with startling clarity on songs such as Wonderful (It's Superman). Stochansky's voice has often been compared to Bono, but he's more willing to make fun of himself and stew in his own adolescent fantasies. Somehow, they become our fantasies, and an oddball audience bond is born. If Stochansky's set was all rock and no crock, Gryner's headlining slot was all pose and no clothes. Tarted up in a pair of pink and black slips and stomping around in knee-high space boots, the 26-year-old Gryner looked more like a teen hooker auditioning for MuchMusic. The outfit may have been revealing, but this is about the music, right? Gryner's performance lifted the veil on something more disturbing -- an attention-craving composite of self-indulgent female singer-songwriters the world over who too easily slip into the language and metaphors of therapy to mask their emotional immaturity. Gryner plowed through a tedious 80-minute set completely lacking in the spontaneity and fun that Stochansky brought to the table. Songs such as 89 Days of Alcatraz, about a rapidly sinking relationship, were spit out with more posture than evocation and sounded only slightly more dangerous than a ballad from a runner-up on American Idol. On a cappella numbers such as This Mad, Gryner sneered on cue, following it up with a Tori Amos turn on piano with Julia. Both songs are solid arrangements, but played with the false passion that comes with the overuse of eyeliner, they fall into the forgettable. Gryner is not without talent or charm, either, something that David Bowie recognized in drafting her as a touring backup singer. Her voice is a deceptively sharp knife that can carve up the human heart, but she allows it to descend into a whining spiral. Stochansky was rewarded with two encores, a rare and deserving honour for an opening act. Gryner came on for a double curtain call as well, but it seemed more like the polite request from a warm and generous crowd who didn't want to hurt anybody's feelings. Emm Gryner and Andy Stochansky perform in Winnipeg tomorrow, Saskatoon on Wednesday, Regina on Thursday, Edmonton on Friday, Calgary on Saturday, Victoria on Oct. 29, Nanimo, B.C., on Oct. 30, and Vancouver Nov. 1. ------------------------------ Date: Wed, 23 Oct 2002 22:04:31 -0700 From: Paul Schreiber Subject: Chart: LIVE: Emm Gryner with Andy Stochansky http://www.chartattack.com/damn/2002/10/2217.cfm LIVE: Emm Gryner with Andy Stochansky Tuesday October 22, 2002 @ 06:00 PM By: ChartAttack.com Staff Palais Royale October 19, 2002 Toronto, Ontario by John Teshima As far as songwriting goes, the pairing of Andy Stochansky and Emm Gryner ensured an evening of quality material at very least. Stochansky has just released his major label debut Five Star Motel, an album of catchy, quirky and thoughtful songs. And Gryners recent Asian Blue on her own Dead Daisy Records is another collection of well-crafted pop gems that is being criminally under-appreciated by the media and the public at large. But a concert is about more than quality material; it's about enlivened performances and connection with an audience. Both Stochansky and Gryner appeared to appreciate this difference, delivering something beyond a straight rendering of their songs. Stochansky took advantage of having a solid band behind him, whipping up energized versions of his recent material. Songs that were previously only foot-tappingly pleasing became electrifying in their live versions. The band also played cohesively, embellishing but never overplaying their respective parts and always supporting the overall feel and purpose of each song. Gryners band was less sympathetic to her material, at times clumsily overwhelming her subtle dynamic shifts and generally adding a much heavier hand than was necessary. Guitarist Jordan Kerns was the most obvious offender in this way, often obliterating Gryners vocals with loud, sludgily distorted chords. He is clearly capable of better, as proven by his lovely imitation of the harpsichord part in "Stereochrome." As a frontperson, Stochansky was able to deliver a passionate and committed performance on every song. His only lapses were in his between song banter. While clearly a charming and witty person, most of his exchanges with the audience seemed a bit fumbling and half-finished. He seemed only too relieved to head back into another song. Gryners strength as a performer came from her eyes: a piercing stare that left any audience member fixed in its path fully appreciative of the emotional intensity in the songs. Gryner could have performed just as expressively with only her head poking through a curtain. Gryner's only error was to dress up in something approaching brothel attire, a costume that seemed to have no particular connection to her material or performance. Despite the above flaws, Stochansky and Gryner nonetheless ably showcased their strengths as songwriters and performers. Considering the crap that gets trotted around for over a $100 per ticket, the $15 to get into this show was money well spent. ------------------------------ Date: Thu, 24 Oct 2002 02:18:14 -0400 (EDT) From: Marc McRae Subject: Re: Globe: A tale of two encores Derek Raymaker has made himself a fool. In the review below he shows the ears and talent and takes to write for the Globe and Mail. To say Emms out fit was revealing is a joke. I was five feet away and could see nothing but knees and arms. He obviously has no appreciation for the songwriting skills and passion for singing that Emm Gryner possesses. "Sadly, Emm Gryner instead took the audience on a technicolour tour of her diary and gave the vibe that it was a tedious chore." Statements like this are prime examples of how far off Mr. Raymaker is when talking about Emms performance. When reading the review you can't help but get the feeling this man has a serious problem with Emm Gryner as a person. I can only hope that next time Derek decides to attend a show of Emm's again he can lose all prejudices he seems to have a just relish in the passion and love she has for her music. Marc McRae > A tale of two encores > By DEREK RAYMAKER > Special to The Globe and Mail > > Monday, October 21, 2002  Page R4 > > Emm Gryner > With Andy Stochansky > At the Palais Royale > in Toronto on Saturday > > In these axis-of-evil times, the world seems to > crave the earnest > emotional ballast that can only come from vulnerable > pop-grooving > singer-songwriters who relish the messy work of > confronting their own > intimate failure. > > But the line between charming and indulgent is a > thin one, as witnessed > in shocking-pink clarity during a Toronto songwriter > hoedown at the > Palais Royale Saturday night. The affable Andy > Stochansky stayed on the > charming side with a powerful, even danceable set of > soaring pop > meditations and muddled fantasy worlds. Sadly, Emm > Gryner instead took > the audience on a technicolour tour of her diary and > gave the vibe that > it was a tedious chore. > > Stochansky's 65-minute set drew heavily from his new > album, Five Star > Motel, produced by Ottawa pop master Ian LeFeuvre, > and featuring fewer > instruments and more volume and focused arrangements > than his previous > two albums. > > The messily handsome Stochansky struck a quirky > figure on stage, as if > he was on the way to buy a loaf of bread, but > instead found himself in > front of 400 well-read, well-bred and shockingly > unironic Starbucks > regulars. > > Stochansky's set resembled a pep rally for women of > depth whose beauty > is not readily apparent to the obtuse lads for whom > they fall. > > He takes a whisper and turns it into a roar in about > three nanoseconds, > and can slip from the playful notes of innocent > longing, in songs such > as 22 Steps and Paris, into the eyes-closed, > anguished Miss USA with no > effort and complete assurance. > > But Stochansky's guitar-driven jam band really > scores with the LeFeuvre > signature -- massive pulsating power riffs colliding > head-on with a > vulnerable chorus, executed with startling clarity > on songs such as > Wonderful (It's Superman). > > Stochansky's voice has often been compared to Bono, > but he's more > willing to make fun of himself and stew in his own > adolescent > fantasies. Somehow, they become our fantasies, and > an oddball audience > bond is born. > > If Stochansky's set was all rock and no crock, > Gryner's headlining slot > was all pose and no clothes. Tarted up in a pair of > pink and black > slips and stomping around in knee-high space boots, > the 26-year-old > Gryner looked more like a teen hooker auditioning > for MuchMusic. > > The outfit may have been revealing, but this is > about the music, right? > Gryner's performance lifted the veil on something > more disturbing -- an > attention-craving composite of self-indulgent female > singer-songwriters > the world over who too easily slip into the language > and metaphors of > therapy to mask their emotional immaturity. > > Gryner plowed through a tedious 80-minute set > completely lacking in the > spontaneity and fun that Stochansky brought to the > table. > > Songs such as 89 Days of Alcatraz, about a rapidly > sinking > relationship, were spit out with more posture than > evocation and > sounded only slightly more dangerous than a ballad > from a runner-up on > American Idol. > > On a cappella numbers such as This Mad, Gryner > sneered on cue, > following it up with a Tori Amos turn on piano with > Julia. Both songs > are solid arrangements, but played with the false > passion that comes > with the overuse of eyeliner, they fall into the > forgettable. > > Gryner is not without talent or charm, either, > something that David > Bowie recognized in drafting her as a touring backup > singer. Her voice > is a deceptively sharp knife that can carve up the > human heart, but she > allows it to descend into a whining spiral. > > Stochansky was rewarded with two encores, a rare and > deserving honour > for an opening act. Gryner came on for a double > curtain call as well, > but it seemed more like the polite request from a > warm and generous > crowd who didn't want to hurt anybody's feelings. > > Emm Gryner and Andy Stochansky perform in Winnipeg > tomorrow, Saskatoon > on Wednesday, Regina on Thursday, Edmonton on > Friday, Calgary on > Saturday, Victoria on Oct. 29, Nanimo, B.C., on Oct. > 30, and Vancouver > Nov. 1. ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca ------------------------------ Date: Thu, 24 Oct 2002 02:18:39 -0400 (EDT) From: Marc McRae Subject: Re: Chart: LIVE: Emm Gryner with Andy Stochansky The Palais Royale show was the first time I have seen Emm live. And even though Steve Krecklo, a good friend of mine, played guitar for Mr. Stochansky I had not previously heard him play. I thought both were fantastic. Now I think Emm would be great even if she was suffering through a throat infection. Andy impressed me and I believe he is worthy of headlining his own show. Emm's band did hurt the show somewhat though. I totally agree that on a number of songs the gentleman plucking the strings behind her were a little ruff and work maybe to hard to draw attention away from the seductive and passionate Emm Gryner. I can know say first hand that there is nothing greater then standing 5 ft from Emm, singing along to Good Riddance, and being pierced by her lovely stare as her eyes swept across the crowd. Despite the small errors by her band the show was energetic and exciting. A few people have critized her choice of outfit for the show but I think it quite fit her diverse style and grace. She was beautiful. - --- Paul Schreiber wrote: > http://www.chartattack.com/damn/2002/10/2217.cfm > > LIVE: Emm Gryner with Andy Stochansky > Tuesday October 22, 2002 @ 06:00 PM > By: ChartAttack.com Staff > > Palais Royale > October 19, 2002 > Toronto, Ontario > by John Teshima > > As far as songwriting goes, the pairing of Andy > Stochansky and Emm > Gryner ensured an evening of quality material at > very least. Stochansky > has just released his major label debut Five Star > Motel, an album of > catchy, quirky and thoughtful songs. And Gryners > recent Asian Blue on > her own Dead Daisy Records is another collection of > well-crafted pop > gems that is being criminally under-appreciated by > the media and the > public at large. > > But a concert is about more than quality material; > it's about enlivened > performances and connection with an audience. Both > Stochansky and > Gryner appeared to appreciate this difference, > delivering something > beyond a straight rendering of their songs. > > Stochansky took advantage of having a solid band > behind him, whipping > up energized versions of his recent material. Songs > that were > previously only foot-tappingly pleasing became > electrifying in their > live versions. The band also played cohesively, > embellishing but never > overplaying their respective parts and always > supporting the overall > feel and purpose of each song. > > Gryners band was less sympathetic to her material, > at times clumsily > overwhelming her subtle dynamic shifts and generally > adding a much > heavier hand than was necessary. Guitarist Jordan > Kerns was the most > obvious offender in this way, often obliterating > Gryners vocals with > loud, sludgily distorted chords. He is clearly > capable of better, as > proven by his lovely imitation of the harpsichord > part in > "Stereochrome." > > As a frontperson, Stochansky was able to deliver a > passionate and > committed performance on every song. His only lapses > were in his > between song banter. While clearly a charming and > witty person, most of > his exchanges with the audience seemed a bit > fumbling and > half-finished. He seemed only too relieved to head > back into another > song. > > Gryners strength as a performer came from her eyes: > a piercing stare > that left any audience member fixed in its path > fully appreciative of > the emotional intensity in the songs. Gryner could > have performed just > as expressively with only her head poking through a > curtain. Gryner's > only error was to dress up in something approaching > brothel attire, a > costume that seemed to have no particular connection > to her material or > performance. > > Despite the above flaws, Stochansky and Gryner > nonetheless ably > showcased their strengths as songwriters and > performers. Considering > the crap that gets trotted around for over a $100 > per ticket, the $15 > to get into this show was money well spent. ===== Marc McRae "With all the things I have lived and seen, I still can't help but believe I am dead and blind." ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca ------------------------------ Date: Thu, 24 Oct 2002 14:27:58 -0700 From: Paul Schreiber Subject: StarPhoenix: Breaking up never felt so good Thursday ; October 24 ; 2002 Breaking up never felt so good Cam Fuller The StarPhoenix Oct. 23 Louis' Doors open 8 p.m. $8 student, advance; $10 general, advance Tickets available at CD Plus, Place Riel information kiosk Let it not be said that Emm Gryner (Wednesday, Oct. 23, at Louis') does not follow her own advice. Several songs on Gryner's new album Asianblue are about leaving a relationship and learning to live on your own. Gryner has done just that in her own life, saying goodbye to her job in David Bowie's band and reconnecting with her solo career. "In a way, I kind of knew in my heart that I had to get back to what I was doing before," Gryner said recently. "I really, really love those guys, but you gotta bust out on your own." Fittingly, she was speaking on her cellphone from an airport in the Southern U.S., en route to Canada. "I really would like to be back in Canada. It's a crazy time in the world and I'd like to be home," she says. After several years living in New York City and Los Angeles, the small-town Ontario native is moving back home. She's lived in Toronto before, and thinks she'll try Montreal this time. (Saskatoon is offered as another option. She likes the bridges, but can't be convinced.) "Montreal, I like the smell." Also fragrant, at least sonically, is Gryner's new album. It's singer-songwriter pop, often piano-based in the Chantal Kreviazuk way. Few rough edges, lots of catchy melodies, tons of relationship observations. Unlike the previous album Science Fair, which was sparsely recorded at a cottage on an 8-track, and Girl Versions, which was done in a couple of days with piano, vocal and cello, there are five producers on Asianblue, including Gryner herself. Instrumentation includes piano, bass, acoustic and electric guitars, Wurlizer and more. We're not in 8-track territory anymore. "I really wanted to make a studio record, a fuller, more up-sounding record," says Gryner. Flipping through the liner notes, one comes upon a page indicating that no corporate or government funding went into the recording. It was all artist-based and (through pre-sales) fan-based. It's an odd declaration to make, until you recall that Gryner was one of the more prominent names dropped during a round of record-label takeovers in the late '90s. She's not a big fan of The System, it's fair to say. "I think it is a special record in the way it's a grassroots, fan-made album. And I didn't have anything else to put on that page," she insists. "It's really kind of a testament to how lucky I've been to be able to make a record I love without having it go through a lot of corporate red tape." Part of Gryner's grassroots approach was her "Home Invasion" tour, where she'd do shows in the homes of randomly selected lucky fans. It was fun but hard work, since you have to be "on" for three hours -- there is no backstage. "Usually there is an initial awkwardness but people are really excited because they don't expect a singer coming to their house." Gryner has put the concept on hiatus in order to devote herself to the next chapter. "I really want to concentrate on playing with my band a lot more." ------------------------------ End of headline-girl-digest V5 #225 ***********************************