Artifical Horizon Arrives
Fast-forward to 1995 and U2 were again ahead of the curve with their exclusive Propaganda fan-club release ‘Melon’, which saw the same production duo remix the compilation’s title track which Oakenfold turned into a bona fide club anthem around the world. ‘Melon: Remixes for Propaganda’, was also full of electronic remix gems like Massive Attack’s brooding take on ‘Mysterious Ways’ and a hip hop remix of ‘Numb’ by Soul Assassins, a loose collective of musicians and graphic artists affiliated to Cypress Hill.
Taking some of the best songs from ‘Achtung Baby’ and ‘Zooropa’, the selection and decision was incredibly astute: not only was it only available to Propaganda subscribers, it also became an instant collectors item. Almost two decades on, it’s still one of the coolest items in U2 fan collections today.
Of course, U2’s shoes remained glued to the dance-floor with ‘Pop’ and more recently with remixes of ‘Elevation’ and Paul Epworth’s frantic re-fix of ‘City Of Blinding Lights’. But now - 18 years on from ‘Melon’ - U2 have returned to the concept that originally bore fruit and are bringing us ‘Artificial Horizon.’ Like ‘Melon’, these remixes are either unreleased or so rare that you would have to have been in the studio to have actually heard them before.
Many of these mixes will be known to the electronic heads within U2’s fan-base - the Justice remix of Boots was rumoured to have been a bootleg for quite some time - but not any more, as it’s one of the standout remixes here. If we’re going to be precise, this is certainly the first time that remixes from Fred Falke, Fish Out Of Water and Hot Chip have been made physically available for the U2 fans. And the Frankie Goes To Hollywood-referencing ‘I’ll Go Crazy If I Don’t Go Crazy Tonight’ (Live U2360 Remix) has never appeared anywhere before.
So what does ‘Articial Horizon’ tell us? Well, like ‘Melon’ before it, it covers refashioned songs from more than one album. A quick scan reveals that the CD starts with the Influx mix of ‘Elevation’ (from ‘All That You Can’t Leave Behind’) and includes several songs from ‘No Line…’ (including ‘Get On Your Boots’ and ‘I’ll Go Crazy If I Don’t Go Crazy Tonight’ as well as songs from ‘All That You Can Leave Behind’ (David Holmes’ daringly dark remake of ‘Beautiful Day’) as well as a cool, ambient remix of ‘Staring At The Sun’ from ‘Pop’ by Brothers In Rhythm to close.
In the case of Hot Chip, Fred Falke and Justice, it’s a reminder that U2’s feet and heartbeat have kept up with new producers from London and Paris alike and in the case of Nine Inch Nails, they’ve walked as far as Beverley Hills. And in the case of David Holmes and Danny Saber, they’re dabbling with producers who have re-modelled their music before. Fans may remember that Belfast producer David Holmes remixed ‘Discotheque’ while Danny Saber - who retools ‘Happiness Is A Warm Gun’ here - previously remixed ‘Satellite Of Love’ from ‘The Million Dollar Hotel’ soundtrack.
Reference: U2.com
Adam Said what ?
It’s never a smooth process, finishing off a U2 record, and this seems to have been no exception. Was there much chopping and changing down to the wire?
There was sort of an 11th hour scenario, because we got caught up on the running order towards the end, primarily because we’d all come to the conclusion that How To Dismantle An Atomic Bomb had suffered by having a compromised running order, and we didn’t want to make the same mistake this time around. So, we pulled White As Snow out of the ‘maybe’ file, and that seemed to balance some of the up-tempo rock tunes. It gave the listener a break.
We had another track called Every Breaking Wave which, if we’d included it, would have made for a very long record. Anyway, we decided that song just hadn’t reached its potential, so, we put it back in the cupboard for the next record (laughs).”
Before Christmas, I heard a track called Winter. Has that become something else?
That was possibly going to be on the record and possibly part of a soundtrack for an upcoming movie and it didn’t make the record but may still be part of that movie soundtrack. [NB since this interview Winter has been confirmed as part of Anton Corbijn’s ‘visual accompaniment’ to No Line On The Horizon, entitled Linear, included in the Deluxe package of the album]
It sounds like you’ve got a lot of material. Could you release another album quite soon?
Well we could, and it’s part of our plan to not leave it too long. Once the tour is up and running there would be no reason why we couldn’t find a week and go into the studio and work on things. It sort of depends on Bono and Edge’s commitments; they’ve got a Spiderman project in the works too (laughs).
So, Spiderman permitting, you could be working on the new album during the next tour?
It would be nice to continue working in the same way. Instead of doing this record in one solid bloc, we sort of did two-week sessions with Brian and Dan, as writing collaborators, and out of those sessions came a lot of really good raw material. But it wasn’t until April of last year that we went into the studio and said, Look, no one gets out of here until it’s finished.
The breaks meant we could come back to things. And, I think that helped everyone. I think it worked really well for Edge from a compositional point of view; he really got to look at how the album hung together and to see what was missing musically. I think it enabled Bono to complete and fully resolve some of the lyrics.
So I think the breaks stopped us getting snow-blindness. I also think there was a fundamental shift in the band, in that the material became much more internalised. It wasn’t striving to reach out to connect to people; it became much more about inviting people to come in and be part of the experience.
That’s interesting. I would say the last two records broadly fell into the ‘striving to connect’ category…
I think that was the end of a period. When we were coming through the ’90s and we were playing a lot of big outdoor shows, we lost some connection with ourselves because it was about reaching out to those really big places and that was how we probably conceived a lot of that music. All That You Can’t Leave Behind was the beginning of the shift back, as we knew we were playing relatively small places, but they were much more musical experiences. I think it took the last two records for the band to value what we had together, to value our DNA. I think this record capitalizes and makes the most of that experience.
I don’t know about try harder but I think they were happier! [laughs] I think they both bring a phenomenal commitment to a U2 project in very different ways. Danny really does stay in the trenches and is the last one to leave the building. Brian tends to be the first man in in the morning, working on things that will influence the attitude of people, get them thinking in creative and inspired ways.
Long, creative relationships are unusual in rock’n’roll, but the mileage and the knowledge and the understanding from having been around with them for 20 years makes them a pleasure to work with. And they haven’t really changed much. They’re still questioning in the same way.
Who has the final say?
I think it is us. And it’s probably swung more that way. We’ve moved into a way of working where Brian will commit to a two or a three-week period then he goes off and does his other projects. And the same would be true of Danny [Lanois]. But there’ll be other periods when we’re just on our own.
It does come down to us ultimately. It used to infuriate Brian to the point of throwing the rattle out of the pram. Now I think he observes it and I think he has a healthy respect for it. Towards the end of the record, when we were in Olympic [Studios, South West London], he had a commitment to finish the record I haven’t seen in him for a long time. He was there and really fighting for the record. Like a true midwife would be.
How early on were you aware of what kind of album you were making?
I think there was a lot more clarity around this record and I can’t explain why. It just felt like people knew what this record was. Again, from a very personal point of view, it was like that from the beginning. When we first got together and started to play together, the sound that happened, there was a richness to it. The sound seemed to be a product of the time it was being created in. It was very unusual. The complex, sort of North African feel that’s a part of the record was there right from inception.”
I think there was a time when it was more dominant. Earlier on in the record there was a time when it was a bit more challenging and questioning in a cultural sense - east and west and the war was a bit more central to the record. And then it seemed to shift again and it became the record that it is now. I think you’re aware that something has happened in the world. The world has changed and this record doesn’t actually stand up and tell you that because you should know it anyway - but it acknowledges that things are different now and there’s a different value system. I don’t know if you’ve read The Road by Cormac McCarthy? That has a very interesting, brooding atmosphere about it, a sense that you know that something has happened but you’re not quite sure what it is. I think this record has that quality.
Does Eno like bass?
[Laughs] He loves it if he’s playing it!
Do you and Eno always see eye to eye musically?
We have a really healthy respect for each other. It’s probably taken a little while to get to that point but quite often we’ll be digging in the same hole. The great thing about Brian is that he acknowledges his limitations and I have learned to acknowledge mine. He’ll sometimes take something I’m doing and I’ll think, ‘Oh shit, he’s playing my bass part again!’ And I have to go and do something else. But the result is always better. And quite often it’ll be the other way around: he’ll say, ‘Why don’t you play this?’ Or he’ll give me a part and then he’ll figure out something else around it. It’s very much a collaborative experience.
The thing that I love about Brian is that he gets so excited that he’s got a group of people to play with. Because a lot of his time is spent on his own. I think that’s probably why he can be a little impatient. By the time he’s worked something up he just wants to get off it and on to something else.
Black Eyed Peas’ will.i.am is credited on I’ll Go Crazy… What does he contribute?
Will helped early on in the arranging of the demo ideas in the summer. Then when he came in we recut it and he helped us push it up the hill. The final version is a recut that we did late on when we’d kind of played it in a bit. But he’s a lovely, inspiring man to be around.
You’re absolutely right. We did try and take some of the bells and whistles off it and bring it back down to earth. It doffs the cap towards Motown and it’s great to hear the band do a song like that. Unashamedly it’s a pop song and it’s got a pretty good one-two [chuckles]”
Interesting to hear French horns on a U2 record. On at least two songs I think.
Yeah. They’re a lovely mournful sound. Real brass is something that you don’t hear very much and it is a fabulous sound. Those tunes inherently had those brass parts written into them. But we did find a great horn player who came in and embellished them.
It works especially well with the guitar solo on Unknown Caller…
And that is one of Edge’s great guitar solos. Fabulous.
The internal chemistry of the band must shift over time and the process of making a record must be intense. Have you all come out the other side happy?
Erm… [laughs] I think people are more relaxed now. When you have the kind of success that we had early on it brings a kind of responsibility with it. For some of the band, that became a burden that we fought against and wrestled with. But now instead of thinking that the band is limiting we feel it is very free. And we can do things that we can’t do as individuals.
Primarily, I don’t identify myself as a millionaire but I am grateful on a regular basis that I don’t have to think about [money] too much. If things changed, I could live within my means. I’d probably find it difficult but it wouldn’t be the end of the world.
There’s a lot of talk about the concert business downsizing. Could U2 tour on anything other than a massive scale?
I think it can change, depending on our appetite for big tours or for long tours or the economics of it. But for the tour coming up, I think we want to take on the big places again. It feels right to play the songs in stadiums this time. But I don’t know what songs we’re going to play yet. We’re about to go off and do some promo for TV and when we get back from that we’ll be rehearsing for the tour.
What did Bono get you for Christmas?
[Laughs nervously] Actually, we don’t do Christmas presents any more. It was negotiated a few years back. We tend to pass books around.
Interview by: Keith Cameron
http://www.mojo4music.com/blog/2009/02/exclusive_adam_clayton_qa.html
50 Things to Love About Adam Clayton
By now everyone thats a U2 fan knows its Adam’s 50th Birthday. If you have not had a chance to check out Marylinn’s story on ATU2 - We recommend it -
50. “As for the good parts, we’ve got great fans. They follow us through all sorts of changes, and in many ways they encourage us to continue pursuing music that excites us. But the best thing really is that I get to hang out with three friends and musicians. And if I get stuck, in whatever way, I’ve got three guys who are willing and able to help. That’s a great thing.” — Adam, on the best thing about being in U2, in an interview in 2000 for Bass Player Magazine.
http://www.atu2.com/news/50-things-to-love-about-adam-clayton-on-his-50th-birthday.html
You say its your birthday !
Clayton has resided in County Dublin since the time his family moved to Malahide when he was five years old in 1965. Clayton is well-known for his bass playing on songs such as “New Year’s Day”, “With or Without You”, “Get on Your Boots”, and “Magnificent”.
His work on No Line on the Horizon has been cited as his best bass playing. He has worked on several solo projects throughout his career, such as his work with fellow band member Larry Mullen Jr. on the theme of 1996’s Mission: Impossible. Clayton, as a part of U2, has won 22 Grammy
Clayton is the elder child of Brian and Jo Clayton, born on 13 March 1960 in Chinnor, Oxfordshire, England, when Clayton was five years old, his family moved from Oxfordshire to Malahide, County Dublin, where Clayton’s brother Sebastian was born. The Clayton family became friends with the Evans family, with their sons Dik and Dave (more commonly known as The Edge), who were both in the original group, Feedback, that spawned U2.
Clayton attended boarding school first at Castle Park School in Dalkey, then at St. Columba’s in Rathfarnham. He later changed school to Mount Temple Comprehensive School in Dublin, where he met fellow band mates Paul “Bono” Hewson and Larry Mullen Jr., and was reunited with his boyhood friend Dave “The Edge” Evans. Mullen had posted an advertisement on the school bulletin board for musicians to form a band with him; Clayton showed up at the first practice, which also included Dik Evans, Dave Evans’s older brother, Ivan McCormick, and Peter Martin, who were two of Mullen’s friends.
McCormick and Martin left the band soon after its conception. While the band was a five-piece (consisting of Bono, The Edge, Mullen, Evans, and Clayton), it was known as Feedback. The name was subsequently changed to The Hype, but changed to “U2” soon after Evans left the band. Clayton also served as the band’s first manager before Paul McGuiness, a more experienced manager, was hired, because Clayton had left school earlier.
In August 1989, Clayton made newspapers around the world when he was arrested in Dublin carrying a small amount of marijuana. However, he avoided conviction by making a large donation to charity, and has later been regretful, saying “It was my own fault. And I’m sure I was out of my head – emotionally apart from anything else. But it is serious because it is illegal.” Clayton has also had alcohol problems, which came to a head on 26 November 1993 when he was so hung over that he was unable to play that night’s show in Sydney. After that incident, however, he gave up alcohol.
In 1995, after the Zoo TV Tour and Zooropa album, Clayton headed to New York with bandmate Mullen to receive formal training in the bass; until then Clayton had been entirely self-taught. During that period, he worked on U2’s experimental album, released under the pseudonym “Passengers”, entitled Original Soundtracks . That album features one of the few instances where Clayton has appeared as a vocalist; he spoke the last verse of “Your Blue Room”, the album’s second single. Prior to this Clayton had only provided live backing vocals to tracks such as “Out of Control”, “I Will Follow”, “Twilight” and “Bullet the Blue Sky”. Since 1998’s Popmart tour Clayton has not sung live in any capacity for the band.
In 1996, while still in New York, Clayton collaborated with Mullen to re-record the Mission: Impossible theme.
He also had a long-standing relationship with Suzanne “Susie” Smith, a former assistant to Paul McGuiness; they were engaged in 2006, but the pair broke up in February 2007.
The High Court ordered the assets of Clayton’s former housekeeper and PA be frozen after it was reported that she misappropriated funds of €1.8 million.
As a bass player, Adam Clayton’s most recognizable basslines include “New Year’s Day”, which evolved out of an attempt to play Visage’s song “Fade to Grey”, and “With or Without You”.
His style includes Motown and reggae influences, and cites artists such as Paul Simonon of The Clash as influences on his musical style.
When Clayton first joined the fledgling U2, he did not have formal training in the bass.In the band’s early years, he generally played simple parts in 4/4 time.
Bono said of Clayton’s early bass playing, “Adam used to pretend he could play bass. He came round and started using words like action and fret and he had us baffled. He had the only amplifier so we never argued with him.
We thought this guy must be a musician, he knows what he’s talking about and then one day we discovered he wasn’t playing the right notes, that are what wrong, y’know are?”
Clayton’s basses include:
Fender Precision Bass
Fender Jazz Bass
- Gibson Thunderbird Bass
- Gibson Les Paul Triumph Bass
- Gibson Les Paul 70’s Recording Bass, unknown model
- Lakland Joe Osborn Signature Bass
- Lakland Darryl Jones Signature Bass (with Chi-Sonic pickups)
- Auerswald Custom Bass
- Epiphone Rivoli bass (seen in the get on your boots’ music video)
- Status John Entwistle Buzzard Bass
Throughout his career, Clayton has used both Precision and Jazz basses. His first bass, however, was a dark brown Ibanez copy. He uses Ashdown amplifiers and blue Herdim picks, as does bandmate The Edge. Clayton’s Precision basses are modified with a Fender Jazz neck; in an interview with Bass Player magazine, he said that he prefers the Jazz bass neck because it is more “lady-like” and is a better fit in his left hand.
Happy Birthday Adam
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Neil McCormick and Killing Bono
Many rock pundits are more than happy to write about their successes in life, but few would be prepared to espouse their failures so enthusiastically. And even fewer would be lucky enough to find their efforts the subject of a best-selling book and the basis for a major new feature film.
When self-confessed rock star failure Neil McCormick put pen to paper for his 2003 memoir Killing Bono, little did he realise how his tales of living in the U2 frontman’s shadow would click with fans of the Irish supergroup.
As a former schoolmate of Bono — real name Paul Hewson — McCormick was perhaps better poised to recount the trials and tribulations of the singer than many rock writers.
The pair grew up in a Dublin with a burgeoning late-70s punk scene, but while Bono went on to attain rock god status, McCormick found his efforts in bands such as Frankie Corpse and the Undertakers, and Yeah! Yeah! were to come to naught.
“One reason that Bono made it is he was lucky,” says the chirpy and not-at-all-embittered-sounding Neil.
“There are three things you need to have a good chance of making it. One is an abundance of talent, and Bono certainly has that. He was a charismatic character in school and he’s always been a hero to me.
“The next is luck, in meeting the right people, in being in the right band. The public chooses who it wants, you don’t impose yourself on them, so you’ve got to be in the right place at the right time.
“And there’s persistence — you stick with it until that combination of talent and luck pays off. I don’t know where I went wrong; maybe it was the talent, certainly I didn’t have the luck and 13 years demonstrates I had some persistence, so maybe if I had stuck it out for 14 years the world would finally have recognised my genius!”
Bono’s legendary sense of drive and purpose — so evident in his campaigning work and his musical performances — was also a crucial factor, Neil says.
“It comes from not a very good place,” he adds.
“His mother died when he was 13 and it’s amazing how many of our greatest stars have that kind of maternal or paternal loss in their background; it’s quite shocking. For him, music was a way of filling himself up, and for me maybe it was just something I was doing.”
The title of the book itself may be stark in its message (and one might think the subject of a restraining order) but for Neil it was more about laying old ghosts to rest than hitting out at his more successful childhood friend.
“Bono came up with that title!” he laughs.
“It was called I Was Bono’s Doppelganger, but when the book came out in the US they were perplexed by the word ‘doppelganger’. I had to come up with a new title. That was something Bono had suggested to me quite early on. I called him when I was writing the book. He read it and said “You should call it Killing Bono, like slaying your dragons”. He used to ring me up and leave messages on my phone saying “Neil, it’s Bono, you have to kill me”.
“I was worried that someone might take me seriously, though!”
The singer’s well-intentioned campaigns to save the world, including his very visible appearances in Northern Ireland in support of the peace process, have often made him an easy target for the sneering of others.
Yet Neil contends that the motivation of the man who wrote I Still Haven’t Found What I’m Looking For is absolutely genuine and only exacerbated by his big personality.
“He’s not down-to-earth, he’s got a big head, and he’s got a big heart and he’s a big guy who is doing an amazing thing out there,” he says. “I find it quite sickening that people give him stick.
There’s no rock star or celebrity in the world who gives more of himself to help other people, and he has made a profound difference.
“Millions of people are alive in the Third World because of the intervention of him and others who give a hell of a lot of time. We can argue about whether that’s irritating or not, but nobody cares about ‘irritating’ when they’re dying of hunger.”
Neil will be visiting Belfast this week for the first of the annual Northern Bank/Ulster Museum Lectures. Having seen the music industry both from within and without as a rock journalist, Neil’s subject matter for his forthcoming lecture — Is There Too Much Music? — also promises plenty of insight into the industry.
“It’s something I think about a lot,” he says. “Because from being a musician in a series of obscure and failed bands to somehow ending up in that musician’s curse of becoming a rock critic instead, I have basically spent my entire life immersed in the world of music and have seen many changes over the decades.
“I was standing in Austin, Texas at a street intersection during the South By Southwest Festival, and there were gigs going on everywhere — in barber shops and on rooftops, thousands of bands playing in this city. I could hear the rumble of heavy metal from one side and country and western from another and hip-hop from another, all merging into this big mush.
“I thought that is a metaphor for the world we live in now, where there has never been more music available to hear.
“It made me wonder if there is in fact too much music. Humans evolved in a time of musical scarcity. If you wanted to hear music you had to make it yourself. Now you can’t escape music and every 14-year-old will have heard more different types of music than his grandfather will ever have in his entire life.”
The increasing prevalence of manufactured pop shows like the X Factor is also detrimental to appreciation of quality music, Neil says. “I do believe that everybody has music in them, but that doesn’t mean that everybody has a right to be famous,” he says.
“That is what the karaoke culture of Simon Cowell and co have exploited, that idea not that we’re all musical, that we’re all super-talented when we’re not.
“So I don’t really like the X Factor, because I find it exploitative. It feeds into the worst of human obsessions with music and not the best.
“It’s all ego really. The best part of music is when the ego gets put away and releases the music.”
With music such a big part of his life, he wonders now if he has become trapped in what he calls “the obsession of my adolescence”, something which was no doubt given a surreal edge by meeting his ‘younger self’ during the filming of Killing Bono in Belfast just last month.
“I had to shoot a scene where I got a cameo as a rather sad old Irishman in an illegal strip club watching my younger self play on stage,” he recalls.
“The director had stationed a stripper right in front of me, so my screen moments will be me looking at some young girl’s ass while my younger self plays in the background.
“I had a Spock-meets-Spock moment, a Star Trek paradox where I thought, ‘could I go up to my younger self, take him in hand and give him some advice and spare him the pain’?
“It’s complicated because this isn’t a novel, it’s my life.
“When they make a biopic it’s because the subject has done something great, like Gandhi or Nelson Mandela. But nobody knows who I am, or cares, so this is a story about a loser in rock ’n’ roll.
“On one hand I have the great victory of achieving the kind of fame I wanted when I was a kid, but on the other I am achieving it in the guise of a comedy loser played by an actor, so I’m not even going to be myself any more.
“Now I’m about to be subsumed in the shadow of a more handsome actor!”
Said actor is English pin-up Ben Barnes, star of Prince Caspian and Dorian Gray, and for whom Neil is fulsome in his praise.
“However, Neil found himself particularly moved by the portrayal of Bono by rising young west Belfast actor Martin McCann.
“He was amazing, he’s going to be a revelation to people,” says Neil. “I was never as good looking as Ben Barnes, but I would see Martin out of the corner of my eye and think “There’s Bono!”
“He’ll be walking towards you and he does something, a little jut of the chin and a movement of the shoulder and he just turns into Bono.
“It was very strange to see, and I had to stop myself from talking to him as if he was Bono. But he didn’t stay in character.
“When the cameras weren’t rolling he’d approach you like a good Northern Irishman.
“I said to Bono that the actor was doing a spookily good job and he said to me — “Just as long as he’s tall!’.”
Neil McCormick — ‘Is There Too Much Music’, Ulster Museum, this Wednesday 7.30pm. Some tickets still available
Read more: http://www.belfasttelegraph.co.uk/entertainment/music/news/the-man-who-wants-to-kill-bono-14711158.html#ixzz0hy4Z1pT8
Cashman Snubed as Auction ends
IT WAS a case of the unforgettable buyer for U2 stylist Lola Cashman, who still hasn’t found what she’s looking for.
In fact there was literally no desire for a string of U2 trinkets that Ms Cashman had put up for auction — earning just a quarter of the expected amount.
The unique online auction for some of U2’s personal items from the band’s early days has raised just €10,000 of the expected €40,000.
However, the final figures of the auction show that only six of the sixteen items generated bids, which totalled €7,000 — a far cry from the €40,000 that was originally predicted.
As the auction was coming to an end yesterday, a flurry of interest erupted for the unique items put up for sale — including a set of Bono’s rosary beads which fetched nearly €4,000.
Along with the beads, a Polaroid picture of Bono from 1987 which sold for more than €1,000 and a used set concert list also sold for €945.
As did a signed photograph of the band for €241 and a backstage pass from their Joshua Tree tour for €219.
Another religious object put up was Larry Mullen’s former Bible, given to the stylist in 1988, with the inscription “To Lola, With Real Love, Larry, 15-1-88”.
It was being auctioned off for $4,800 (€3,500) and not one bid was placed.
Larry Mullen’s worn Converse shoes were expected to sell for at least $4,500 (€3,300) which also failed to generate any bids.
The former stylist is no stranger to auctioning off memorabilia belonging to the iconic band.
Cashman was previously involved in a high-profile court case dubbed Stetsongate, for selling items belonging to the rock legends she had collected while joining them on their Joshua Tree tour from 1987 onwards.
After losing her appeal against a judge’s decision that the items were not hers to sell, she instead auctioned off items that were personally inscribed to her.
- Caitlin McBride
U2 Rumor Alert
A couple of different fans sites have suggested that it could be possible. The timing looks good, with U2 playing Philadeliphia on July 12th and Montreal on July 16th and 17th. The leaves a couple days to stop over to LeBreton Flats.
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