Marentette, also known as "Gigi" to some, noticed how music and activism were tightly intertwined in 1969. The music of that year was heavily influenced by social activism, such as the women's liberation movement, Vietnam War protests, the Stonewall Riots, and LGBTQ+ activism. 1969 was also a huge year for Marentette's mother, musician Linda Girard (one of two people Songs of '69, Volume I is specifically inspired by and dedicated to). Girard was 18 and left her job in Windsor, Ontario, relocated to Toronto and assisted American draft dodgers trying to evade the Vietnam War. "Her commitment to social justice, human rights, and peace echoed the ideals that inspired the musicians of that era," Marentette says of her mother.
There are many excellent songs from 1969 for Marentette to cover, but the artist narrowed it down to ten gems. "There are so many gems from this year in music history: the whole era is chock-full of gorgeous, well-crafted music with a message, but I ended up with ten covers close to my heart," Marentette says of Songs of '69, Volume I. "These songs are in my emotional DNA; I grew up with them, and they resonate particularly with my parents and loved ones who have surrounded me and kept me in my craft."
Songs of '69, Volume I, is produced by Marentette and Jono Grant (who also mixed and mastered the album). The album includes songs made famous by the Guess Who ("Undun" and "These Eyes") and Bob Dylan ("Tonight I'll Be Staying Here With You" and "Lay Lady Lay") alongside deeper cuts by Nick Drake ("River Man") and British prog-rock pioneers King Crimson ("I Talk to the Wind").
Also on the album is the song "You've Made Me So Very Happy," written by Brenda Holloway and recorded by Blood, Sweat & Tears. The song features cinematic string accents by Grammy-nominated musician Drew Jurecka. The recording is especially personal as Marentette released it last month to celebrate the 83rd birthday of Blood, Sweat & Tears vocalist David Clayton-Thomas, the other person to whom Marentette specifically dedicated the album. He was also a source of inspiration following "resonant discussions" Marentette had with the legendary vocalist about the '60s, "a time when musicians were warriors of social justice and peace."
This is not just an album of "cover" tunes. Genevieve and her team of highly skilled musicians reimagine these iconic songs, giving each a fresh, modern sound. The vocals are exquisite—strong yet delicate—and very musical, with close attention to the lyrics. It's a delightful listen from beginning to end. — David Clayton-Thomas
Marentette began recording in 2022 for Songs of '69, Volume I. She says, "The arrangements emerged from many spontaneous performances with my core trio, which includes Eric St-Laurent (guitar), George Koller (bass) and Ben Wittman (drums)."
"We've fused folk, soul, and pop into a jazz-rooted approach. After years of singing jazz in hotel lounges, I love arranging and interpreting songs from every era." It's a sound and style that brings to mind highbrow work by Diana Krall, Sade, Cassandra Wilson, and the late Angela McCluskey.
The material effortlessly draws the listener in, but some songs simply shine, particularly "Undun," with its sultry horn accents by Alison Young, some great guitar work by St-Laurent and a divine delivery from Marentette. Meanwhile, Marentette’s rendition of Nick Drake’s "River Man," from his Five Leaves Left album, is a sparse, reflective, and deeply bittersweet tribute, made even more poignant by the loss of her sister.
"It was one of the songs I leaned on when I was 15 and had lost my sister to an overdose, and I had no idea it was from '69, and I had no idea Nick Drake had passed away from an overdose as well until I made this album," she says.
Another standout track is "Lay Lady Lay," tweaked to reflect a "woman-to-woman plea for intimacy and connection." And the album closes with an incredible reworking of Creedence Clearwater Revival's "Bad Moon Rising." It's one of the freshest, most invigorating covers you'll hear. The gospel, hymnal organ by Lou Pomanti and pedal steel wizard Burke Carroll accentuates Marentette's ethereal, soulful approach to the John Fogerty-penned staple. Simply put, it's a spine-tingling coda to what is an almost criminally consistent collection of covers.
Songs of '69, Volume I, was Recorded by Grant, Rob Christian, Jeremy Darby and Julian Decorte at Victory Drive, RC Studio and Canterbury Music Company. The album includes two big band-style horn arrangements on "Easy to be Hard" and "Undun," featuring tenor saxophonist Alison Young. Grant played bass, drums, keys and percussion, and singer Lori Cullen provided backing vocals ("Tonight I'll Be Staying Here With You"), with contributing musicians saxophonists Rob Christian and Richard Underhill, trombonist Christian Overton, trumpeter Marie Goudy, pianists Michael Shand and Vezi Tayyeb, bassist Andrew Stewart and lap steel guitarist Christine Bougie.
Marentette was born in Leamington, Ontario and spent her teen years in Detroit. She was inspired by her mother and her career as a musician. Performing throughout Asia and Europe, Marentette returned to Canada in 2014. Having worked with a variety of artists such as Clayton-Thomas, Don Francks, and Jane Siberry, Marentette with one EP called “Gigi” released in 2012 under her belt and many collaborations and singles also produced The Heart of 21 in 2019, an EP by her mother celebrating her mom's 70th birthday. In 2021, the artist released Live & Improvised, a live recording from a Toronto concert featuring Marentette and recently deceased pianist Robert G. Scott.
With Songs of '69, Volume I, and a special concert launching the album set for Toronto's Koerner Hall on Oct. 16, Geneviève Marentette is ready to move forward with her lovingly intuitive look back at past nuggets. One can only hope it's the first of what should be several superb volumes from this dynamic, innovative vocalist.
Gigi's album offers a unique take on classic-era rock songs, presenting them in a fresh light. They’re all very listenable and pay great tribute to the songwriters. "Undun" and "These Eyes" are especially cool in her jazzy style, and I love them. I'm a fan. — Randy Bachman, The Guess Who
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