One day you're gonna miss me

[ForeverAutumn]

One day you're gonna wake up cold
Then you'll wish that you could kiss me
When you're old and you're alone
So cry if you want to
Yeah you can come undone
But you've gotta have a heart
To have a broken one.

These lines from Luke Doucet's latest (and the only one I've ever heard), Broken (and other rogue states), set the tone for the rest of the disk which tells the story of a bitter and angry Luke after being dumped by Emily. Luke goes into a downward spiral of drink and drugs as he attempts to deal with being dumped and try to figure out where he went wrong...

It's not the liquor I miss but the days are so long
When all you've got is time to sit
And wonder what you did wrong
It's not the liquor I miss but the days are so long
If I never said I'm sorry, it's not 'cause I'm not
It's just that some words are too big and too hard
And they just get caught

Until he finally realizes that it's not the end of the world...

You were never my whole world
You're just one of many girls

And life goes on...

Well I'm free, free like the world

Although the story has the potential for a very high sap factor, it's not. The lyrics, while simple, are honest in revealing the evolution of Luke's healing journey.

Stylistically, the album is full of beautiful melodies backed up by acoustic guitar, a string quartet and lots of guest musicians, including Bazil Donovan from Blue Rodeo.

I see this disk appealing to folks who like Ray LaMontagne, The Honeydogs, and...dare I say it...yes...even Andrew Bird.

I don't believe that this disk has been released in the U.S. (although according the the record label web site, it has been released in the U.K). But at only $11.99 CDN at Amazon.ca, even with shipping, this disk is a steal.

I should also mention, for the handful of people here in the Toronto area, Luke is playing two shows at The Rivoli on December 15 (solo) and 16 (with band). Tickets are available here... http://www.sixshooterrecords.com/six_site/six_www_tickets.html

[audiobill]

Wow. Luke sounds cool. Are you going??

[ForeverAutumn]

Wow. Luke sounds cool. Are you going??

Luke is very cool and I have to thank Opt80 for the rec. NOW magazine gave Broken a great review and EYE had a front page feature on him a few weeks ago. Yes, we're thinking about going to the Friday night show. We're also thinking about attending an afternoon Rheostatics show at the Horseshoe on this coming Sunday, Dec. 11.

Are you interested in either, or possibly both? Email me. :)

[Davey]

I see this disk appealing to folks who like Ray LaMontagne, The Honeydogs, The Shins, and...dare I say it...yes...even Andrew Bird.
Hehehe, yeah I did read a nice review at the americana.uk site. Gave some thought to checking it out but haven't pulled any triggers yet. Like you said, don't think it's available down here. I'll just post the text below, but you can find it in the November reviews at http://www.americana-uk.com/html/november_2005.html ...


Luke Doucet “Broken (and other Rogue States)”
(Six Shooter Records 2005) Review by David Cowling
Satisfying and stimulating third solo outing from Veal frontman and NQ Arbuckle producer. There are different ways of responding to music - emotionally or intellectually are two that aren’t mutually exclusive. If you see intellect and emotion as being two ends of a continuum that you move along in response to music, some music will stir a visceral emotional pull - a three chord thrash might connect with you on this level - but the works of Stockhausen more on the intellectual. Maturity is a product of learning, and learning means that you can build the capacity to connect with things that would not happen on a purely emotional level. Think of free jazz and the work you have to do to get to a position of understanding. What I’m getting to is that your reaction to all music will be along that continuum and that some music titillates emotion and intellect at the same time. A recent example of this for me is Sufjan Stevens. Doucet pulls off much the same thing; the songs like ‘Broken One’ are wonderful pop, the melodies connecting with your gut and pleasure centres and there’s enough intelligence in the lyrics and the music to keep your attention long after the sugar rush has passed. Thus ‘Stumbling Gingerly Back to Emily’s Apartment’ musically does exactly what the title says with groups of noir piano notes, a ticking metronome and bent guitar strings providing something akin to the Tindersticks crepuscular soundscapes: all this to preface the song ‘Emily, Please’ which is full of atmosphere and storytelling – it’s as though an urban urbane Jim White was sharing the stage with Calexico. Each song builds an atmosphere, a perfect setting for the song that you admire, and then the song grabs you by the lapels and tells you you’re its best friend - barroom tales, liquor, women, addictions, the beautiful loser as he says on ‘One Too Many’, ‘it takes a uniquely ****ed up man to break his own heart’. ‘Wallow’ sees him with just acoustic guitar and shows that he can function very well without the settings, his voice thick with the smoke of emotion, embers of feelings keeping him warm, memories of love responsible for the sweet melody.

Side two starts with ‘It’s Not the Liquor I Miss’ which is remarkably like a sophisticated version of Haircut 100 (and I really mean that as a compliment), the horns on a jaunty trip around the countryside pursued by the strings, all the while Doucet in a bar pondering his fate. The narrator of ‘One Too Many’ sways and swerves with the music, mainlining a thick stew of organ and guitar whilst ‘Vladivostok’ uses a Kalashnikov of guitars to attack the song. It’s perhaps the weakest moment, a little too arch but it still entertains and you can’t fault the restrained brass that accompanies the song. He adds his own commentary with the next track ‘If I Drop Names of Exotic Towns That You’ll Never See, in the Songs That I Write, It’s That That’s All I Have When I Miss My Girl & You’re Taking Yours Home Tonight’ and that’s all it is, sung over a few twinkles of keyboards, stentorian piano chords and it leaves an ache of sadness. The same can be said for ‘No Love to be Made Here Now’ a delicate vocal performance that is accompanied at first by simple acoustic guitar and then waltzed around by what sounds like a whole dance band, your brain follows them around the room subconsciously counting off the steps. Overall on the emotional/intellectual continuum I’m somewhere in the middle - my mind and my emotions are engaged and that’s as much as I could ask for. www.lukedoucet.com