Alanis Obomsawin - Bush Lady LP reissue

As a Canadian citizen and person of settler and immigrant heritage, I feel that it is my responsibility to learn more about the land that I was born on. During my Catholic and public school experiences in the 1970s/80s or even at Simon Fraser University in the early 1990s I was rarely taught about the true history of Canada nor was I conscious enough to seek it out beyond any surface awareness. I'm happy to report that this has changed. In my travels across Canada throughout the first decade of the 2000s,  I began to learn more about First Nations, Métis, and Inuit expression from a selection of hand-picked vintage vinyl records. I will never forget the kindness and generosity of the people who created these recordings, some of the most talented singers, songwriters, poets, artists, writers, and filmmakers that I've ever known. It made me happy to learn that many of these artists were still being celebrated in Native communities across Turtle Island (and beyond), yet for others, music took a back seat to the unfolding of life, as it so often does for independent artists, especially when facing a lack of opportunities to make any sort of sustainable living pursuing their craft or calling. Racism, systematic oppression, and white supremacy also played a part, but we must also remember that not all music is made for or aimed at the charts or social media statistics. Bar some longstanding and outspoken voices like Brian Wright-McLeod (The Encyclopedia of Native Music) who has been giving the necessary thanks and acknowledgements to these artists and their gifts for decades, I was appalled to realize how off-the-grid many of these songs were, though as a professional, non-academic, street level music researcher, writer, DJ, and reissue producer for many years, sadly not surprised.

For example, did you know that Mi'gmaq folk singer Willie Dunn wrote and released a devastating song about Chanie Wenjack called "Charlie" at the turn of the 1970s and was involved in a truly radical feature length film about the residential school system called Cold Journey, over forty years before Gord Downie's much talked about Secret Path project? With all due respect and love to Gord (RIP) for his immense contributions, it was maddening, disappointing, and offensive to see a virtual absence any meaningful recognition for Dunn, who passed on to the spirit world in 2013, during the Secret Path's colonial mass media storm. What gives? Do journalists no longer dig beyond press releases? Did they ever?  In 1971, Dunn released a masterpiece that should be known by every single Canadian living on stolen land. Land where acts of genocide are still being acted out on Indigenous peoples. Land that is being abused by the government for profit. Our media and music business professionals of all backgrounds need to step it up in 2018 and truly earn their keep and make it known. Yes, there will be mistakes along the journey and we all come to music when we do (no judgement there), but it's our responsibility as settlers and immigrants to make the meaningful effort. The bar has been set. We must catch up, now! Listen... Learn... And Share...

Released by Seattle and Los Angeles-based Light In The Attic Records in 2014, Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1985 was my personal love letter to a selection of trailblazers who affected and continue to affect my life in a positive and meaningful way. The 24 artists and groups featured made me reach beyond my comfort zone, taught me things that I never learned in school, and gave me their blessing to work w/ their monumental creations, an honour that I will carry in my heart and soul for eternity. While preparing for the compilation's release, there was only one artist that we were unfortunately not able to collaborate with, Abenaki singer, songwriter, veteran Nation Film Board of Canada filmmaker, and force of nature, Alanis Obomsawin.  Five years into production and pressure mounting, her musical absence brought me to tears, but for no reason other than I understood the incredible feeling and weight of her poetry and songs as well as her deep connection to longtime friends and peers like Dunn, Shingoose, and Duke Redbird whom she supported over the years as curator of the Indigenous stages at the Mariposa Folk Festival and her work at the NFB. With plans of her own, the timing wasn't right for her involvement. I both understood and appreciated her honesty and integrity.

Needless to say, it was beyond humbling to work with Alanis (and her musical ally, Fred Savard) on the recent Native North America Gathering at the National Arts Centre in Ottawa (as part of the annual MEGAPHONO Festival). It was such an honour to hear her share her musical voice w/ an open and loving audience of Indigenous and non-Indigenous people. I was also thrilled to learn that Bush Lady was going to be re-released in its entirety via Montreal's stellar Constellation Records. I can't recommend this album enough...

To celebrate Bush Lady's re-release, I've created a Spotify playlist for my original "vision" version of NNA V1 (designed to be listened to from beginning to end), with Alanis' "Of The Earth And Of The Sea" poem at the top and introspectively winding down with another of her original compositions, "Odana" at the tail, before the spiritual and hypnotic chant/drum/guitar beat of Willie Dunn and Jerry Saddleback's "Peruvian Dream (Part 2)." I still feel that this sequence is the best way to enjoy the album (preferably with friends and family).





I dedicate this playlist to Alanis and to the Indigenous artists who have strengthened their people and have made this world a better place for everyone... Thank you!

Order Bush Lady HERE

PEACE