Today in any type of fandom, fans produce a range of fan products that include merchandise and bootleg videos of concerts that make it increasingly difficult to tell whether they are fan or professionally produced done with the permission of the content copyright holders.
Recently I came across a music video on YouTube of Alan Doyle and The Beautiful Beautiful Band at the Bluesfest in Ottawa on the 13 July, 2017 by a YouTube site called TheBootTube.com. I was considering writing a Throwback Thursday post after seeing one of BootTubes.com's music videos they had recorded of the Alan Doyle Trio (Alan Doyle plus Cory Tetford and Kendel Carson) at a performance at a record store in Ottawa in 2015.
I really liked the way TheBootTube.com had recorded the performance from the position of a fan in the audience. The video was professionally recorded with no static in the sound, moved continuously from individual close ups to full band shots with no shaky hand camera actions commonly found in fan music videos. The video included the whole performance from beginning to end. I thought the music video was so professionally recorded they were done with the permission of the copyright holders. It was my mistake that I didn't read the attached information which stated otherwise.
Then last week another of TheBootTube.com music videos appeared of Alan Doyle and The Beautiful Beautiful Band's performance at the Ottawa Bluesfest last year. I was pretty excited to see this one appear on YouTube and shared via social media. Although I don't really like full concerts being recorded because they take away from concert and album sales, I really enjoyed and appreciated the quality of this one including the sound and was inclusive of all the band members doing their thing. While Alan Doyle is clearly the lead showman of the band, I really enjoyed Cory Tetford's contribution during particular songs that made the current music quite different from previous interpretations. Cory Tetford is one fine musician and singer.
The blurb attached to the video clearly states the video was a fan recorded concert video, provided a full set list of all the songs played and where to find them in the video, gave credit to the full band and directed those interested to where to buy the music and concert tickets. Other fan videos do not provide this much detail nor do they say they are a fan produced video. There were no ads during the performance like in previous concert videos I had seen except at the beginning. I really liked the way these fan music videos despite being professional presented clearly state they were fan music videos.
I have circulated a copy of the music video on my Google + page for all those interested. I have also taken a screen shot from the music video and included them here. As always not copyright infringement intended.
There was also a review written of Alan Doyle's appearance at the same Bluesfest which contains some nice words and wonderful photographs. I have copied the article below and circulated a copy on my Google + page. Be sure to check out the awesome photographs of Alan and festival. As always no copyright infringement intended.
Bluesfest Review: Alan Doyle throws rollicking kitchen party' by Aedan Helmer Published on: July 13, 2017 in the Ottawa Citizen.
Alan Doyle proved he doesn’t need his shipmates in Great Big Sea to host a proper kitchen party.
Yes, everyone was just a little bit Newfie Thursday night as the gravel-voiced former Great Big Sea frontman brought his new band to Bluesfest, where his down-home sound has always been a hit with the crowd.
It was a slightly smaller audience than his old band brought — Great Big Sea are in the Bluesfest record books as drawing some of the festival’s larger crowds — but that may have been partly to blame on the new Bluesfest layout.
Doyle played the prime 9:30 p.m. slot, but over on the smaller Black Sheep Stage while Australian DJ Flume hosted an entirely different sort of party over on the main stage.
Bluesfest has also moved to a new setup with its tented Bluesville stage, in the spot where the old River/Monster stage used to be (a stage Doyle likely would have played in prior years).
The smaller-capacity (though mercifully sheltered) tent stage had organizers placing bigger-name acts on the Black Sheep Stage, which saw huge crowds Wednesday for bluesman Gary Clark Jr. and Tuesday for electro artist RL Grime.
No one seemed to mind the new digs Thursday, least of all Doyle, who repeatedly expressed how blessed he was to be invited back to the big show.
He took particular delight in showing off his new bandmates, with guitarist Cory Tetford, bassist Shehab Illyas, drummer Kris MacFarlane, Todd Lumley on keys and accordion, and fiddler Kendel Carson, who lit up the stage with some soaring solos.
“I sang this here with Great Big Sea, I know you knows it!” Doyle roared to usher in Sea of No Cares, from the 2002 GBS album of the same name.
The band rocked I Can’t Dance Without You, from his 2015 solo effort So Let’s Go, with its accordion and fiddle playing off each other at centre stage, while Doyle thrashed his trademark locks in approval.
He can rock with the best of them, but Doyle also showed his sensitive side, and ever the master storyteller, he told some of the tall tales behind his best-loved tunes.
He gave fans an intimate view from inside a doomed ship, as crewmates scramble to write letters to loved ones back home, notes that would later wash ashore on Fogo Island following a fatal shipwreck.
“It’s the selflessness of the whole thing that struck me with that story,” said Doyle in his folksy Newfoundland drawl, easing into the tragic tale of Laying Down to Perish. “These guys found a way, in what must have been just a terrifying time, to think of others first.”
But, not to let the mood get too dour, he had the crowd raise a glass for the romping Great Big Sea jig Lukey, with its boot-stomping beat and quick-pickin’ guitar solo.
“Let’s have a sociable!” he toasted, and the crowd happily obliged.
Doyle previewed his new album – his upcoming third solo record, which he recorded with Canadian rock legend Bob Rock – with the single Summer Summer Night, which Doyle noted has already found a home in several top ten lists.
“We’re gonna be famous!” he joked. “This is a song about my favourite thing I used o do back home in Petty Harbour, Newfoundland. Everybody would come home for the summer and word would get around town that there’s gonna be a fire on the beach… And halfway through those parties, I would say to myself, ‘Thank God I learned to play the guitar!’ ”
It was that kind of party, as Doyle cued up the Great Big Sea singalong Run Runaway, and the gospel-tinged and bluesy Testify (Take Me Down to the River), a tune which featured Colin James on the 2012 recording from Doyle’s solo debut Boy on Bridge.
Perhaps sensing the throbs of electro music from Flume pulsing across the hills from the City Stage – where the scene had calmed considerably since the mayhem that erupted during the earlier hip-hop set – Doyle cued up a DJ set of his own.
“Every good part needs a DJ,” he said, alternating between his audience-participation number 1,2,3,4 and a few crowd-pleasing teases of Blondie’s The Tide is High and Paul Simon’s You Can Call Me Al.
“Every country needs a queen, every house needs an lady, and every band needs a fiddler,” he boasted, sending the crowd home on the rolling waves of Ordinary Day.
Bluesfest continues Friday with Anderson .Paak & the Free Nationals, Headstones and LiVE.
Alan Doyle proved he doesn’t need his shipmates in Great Big Sea to host a proper kitchen party.
Yes, everyone was just a little bit Newfie Thursday night as the gravel-voiced former Great Big Sea frontman brought his new band to Bluesfest, where his down-home sound has always been a hit with the crowd.
It was a slightly smaller audience than his old band brought — Great Big Sea are in the Bluesfest record books as drawing some of the festival’s larger crowds — but that may have been partly to blame on the new Bluesfest layout.
Doyle played the prime 9:30 p.m. slot, but over on the smaller Black Sheep Stage while Australian DJ Flume hosted an entirely different sort of party over on the main stage.
Bluesfest has also moved to a new setup with its tented Bluesville stage, in the spot where the old River/Monster stage used to be (a stage Doyle likely would have played in prior years).
The smaller-capacity (though mercifully sheltered) tent stage had organizers placing bigger-name acts on the Black Sheep Stage, which saw huge crowds Wednesday for bluesman Gary Clark Jr. and Tuesday for electro artist RL Grime.
No one seemed to mind the new digs Thursday, least of all Doyle, who repeatedly expressed how blessed he was to be invited back to the big show.
He took particular delight in showing off his new bandmates, with guitarist Cory Tetford, bassist Shehab Illyas, drummer Kris MacFarlane, Todd Lumley on keys and accordion, and fiddler Kendel Carson, who lit up the stage with some soaring solos.
“I sang this here with Great Big Sea, I know you knows it!” Doyle roared to usher in Sea of No Cares, from the 2002 GBS album of the same name.
The band rocked I Can’t Dance Without You, from his 2015 solo effort So Let’s Go, with its accordion and fiddle playing off each other at centre stage, while Doyle thrashed his trademark locks in approval.
He can rock with the best of them, but Doyle also showed his sensitive side, and ever the master storyteller, he told some of the tall tales behind his best-loved tunes.
He gave fans an intimate view from inside a doomed ship, as crewmates scramble to write letters to loved ones back home, notes that would later wash ashore on Fogo Island following a fatal shipwreck.
“It’s the selflessness of the whole thing that struck me with that story,” said Doyle in his folksy Newfoundland drawl, easing into the tragic tale of Laying Down to Perish. “These guys found a way, in what must have been just a terrifying time, to think of others first.”
But, not to let the mood get too dour, he had the crowd raise a glass for the romping Great Big Sea jig Lukey, with its boot-stomping beat and quick-pickin’ guitar solo.
“Let’s have a sociable!” he toasted, and the crowd happily obliged.
Doyle previewed his new album – his upcoming third solo record, which he recorded with Canadian rock legend Bob Rock – with the single Summer Summer Night, which Doyle noted has already found a home in several top ten lists.
“We’re gonna be famous!” he joked. “This is a song about my favourite thing I used o do back home in Petty Harbour, Newfoundland. Everybody would come home for the summer and word would get around town that there’s gonna be a fire on the beach… And halfway through those parties, I would say to myself, ‘Thank God I learned to play the guitar!’ ”
It was that kind of party, as Doyle cued up the Great Big Sea singalong Run Runaway, and the gospel-tinged and bluesy Testify (Take Me Down to the River), a tune which featured Colin James on the 2012 recording from Doyle’s solo debut Boy on Bridge.
Perhaps sensing the throbs of electro music from Flume pulsing across the hills from the City Stage – where the scene had calmed considerably since the mayhem that erupted during the earlier hip-hop set – Doyle cued up a DJ set of his own.
“Every good part needs a DJ,” he said, alternating between his audience-participation number 1,2,3,4 and a few crowd-pleasing teases of Blondie’s The Tide is High and Paul Simon’s You Can Call Me Al.
“Every country needs a queen, every house needs an lady, and every band needs a fiddler,” he boasted, sending the crowd home on the rolling waves of Ordinary Day.
Bluesfest continues Friday with Anderson .Paak & the Free Nationals, Headstones and LiVE.
