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Archive for January, 2015

Danielle McLaughlin–“The Dinosaurs on Other Planets” (New Yorker, September 15, 2014)

Posted in Beavis and Butthead, Danielle McLaughlin, Marriage Trouble, Nature, New Yorker, Primus, Sausage, Short Story on January 11, 2015| Leave a Comment »

ny915SOUNDTRACK: SAUSAGE-Riddles Are Abound Tonight (1994).

Sausage_riddles_are_abound_tonight_cd After Pork Soda, Primus took a little break and Les reunited with the original members of Primus–Todd Huth and Jay Lane (guitars and drums) to make the Sausage album.  The album contains new songs and what I assume is the original version of “The Toys Go Winding Down” which sounds quite different from the Primus recorded version.

The first two songs sounds the most like conventional (what?) Primus with big smashing choruses. The biggest difference on the whole album is in the guitar, which is not just making shapes and noises, it is laying an interesting riff.  And the single “Riddles Are Abound Tonight” sounds absolutely the most like Primus–with interesting guitar sounds and Les’ popping bass (the “ho hoy yea” in the middle is also very Primus).

Another big difference is that Jay Lane’s drumming is a very different style than Tim Alexander’s.  Alexander is a force to be reckoned with–he’s all over tha place, playing weird time signatures and all manner of drums.  Jay Lane is more of a jazzy drummer–he keeps things fairly simple with a lot of hi-hat work.  So yes, even though Les is the same (and the star) in both bands, Sausage sounds quite different from Primus.

It’s also not to say that Huth doesn’t make crazy noises (he was the original Primus guitarist after all)–“Here’s to the Man” has a scorching noise from Huth over Claypool’s fairly conventional bass line.  But this song, as with most of them on the disc are quite long and don’t offer the wide array of sections that most Primus does, which loses its impact after a time.  So even though Les is talking some silly nonsense over the song (which is very hard to hear), it doesn’t make the song much more compelling.

Sausage has more of jam band feel.  As with “Shattering Song,” a 7 minute piece with a conventional drum bass and guitar structure.  It goes on in the same vein for some 4 minutes before turning into the more enjoyable “Kern Kern the butter churn” section, which I wish was longer.  Because I love the Primus release of “Toys” I find “Toyz 1988 to be unsettling in its slowness. Although I do love the opening bass riff.  “Temporary Phase” also has a good thumping bass riff and some noisy guitars.

“Girls for Single Men” is a fun song with a wild bass line.  It has a repeated chorus and a lot of spoken word.  As with a lot of these Claypool solo pieces, if the spoken stuff was just a bit louder, it would be more enjoyable.

“Recreating” i a short song with a cool opening bass section that is primarily based on Les’ whammy bar.  The final song, the 6 and a half minute “Caution Should Be Used While Driving a Motor Vehicle or Operating Machinery”  has a cool repeating bass line and some noisy guitars but it is most notable for all kinds of street noises–jackhammers, air raid sirens and the like.

I don’t love the Sausage album that much, but there is some good stuff here.  And the video for “Riddles” is pretty outstanding (and was actually the basis for the Beavis and Butthead character of Cornholio!)

[READ: January 8, 2015] “The Dinosaurs on Other Planets”

There’s quite a lot going on in this story and I enjoyed very much even if the ending wasn’t entirely satisfying.

The story is set in the house of Kate and Colman an older married couple (they met when he was 40 and their kids are grown).  We learn that they have not shared a bed for about a year.  He moved his lathe into their son’s room and basically just stays there all the time, and while she seems upset by this she doesn’t talk about it.  The only thing that sparks them moving back into the same room is their daughter’s upcoming return visit.

Emer has been living in England (I assume her parents live in Ireland given character names) and she is planning to come to visit for a few days with her son Oisin.  So Kate gets the house ready–she fixes up Emer’s old room and fixes up their son’s room (he is in Japan) for a  bedroom for Oison.

But when they show up, Emer has a man with her as well.  His name is Pavel, and when Cormac (who is none too pleased to have an extra guest) asks Oisin when Pavel is from, Oision (who is 5) says “Chelsea.” (more…)

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Thomas McGuane–“Motherlode” (New Yorker, September 8, 2014)

Posted in New Yorker, Primus, Sex, Short Story, Thomas McGuane, Violence, Yuck! on January 10, 2015| Leave a Comment »

ny98SOUNDTRACK: PRIMUS-“Me Llamo Mud” (2010).

me llamo mudThis recording is out of chronological sequence, because it is a re-recording of Primus’ hit “My Name is Mud” done in Spanish.

The big surprise for me was just how different the song sounds–it was recorded in a very different way with the instruments sounding much crisper.  The bass in particular is recorded quite differently.  And Brain is on drums instead of Tim Alexander, although I don’t think their styles are very different on this song.  But I love that those seemingly random guitar parts from Ler are played the same (even if they are recorded differently too).

It’s also impressive to hear Les forcing all those Spanish syllables into his fast wordplay.

¿Adonde va el chico de la ciudad?

[READ: January 7, 2015] “Motherlode”

I tend to think of McGuane’s stories as dark, and this one is no exception.

We start by looking at David Jenkins.  He is in a hotel room with his stetson on.  He goes to get some lunch and while he eats, he gets the sense that a man is watching him closely.

As David walks out to his car, Ray, the man who was looking at David, pulls a gun and says that David is going to take them for a drive.  They have an awkward two-hour road trip ahead of them.  Ray uses David’s cell phone to call his girl, whose name is Morsel (I don’t know why that tickled me so much).  After about two hours of driving a man in a small plane lands in front of them on the road and says they’ve missed the turn.  David backs up and heads down the “road” to a small house. (more…)

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Joseph O’Neill–“The Referees” (New Yorker, September 1, 2014)

Posted in Dead Kennedys, Joseph O'Neill, New Yorker, Primus, Short Story on January 9, 2015| Leave a Comment »

91SOUNDTRACK: PRIMUS-Pork Soda (1993).

pork sodaPork soda was a surprise hit read any review and they always talk about how it’s the oddest top ten record ever).  Even more unexpected was that the first single, “My Name is Mud” was also huge.  But how weird.   The bass is really low and rumbling–sometime so low that it sounds like drums (which I thought it was in the verses when I first heard it) and the guitar is just crazy cool–buzzing noises all over the place.  And the lyrics–whoo boy–they match the video perfectly.  And yet a big hit–which got them invited to Woodstock that year.

“Welcome to this World’ reminds me of the Dead Kennedys (which is weird, I know).  Not the opening bit of course, but the way Les sings the chorus and the punky chords that accompany it seem very DK to me.   “Bob” is a really dark song about a guy who hangs himself.  The melody is an interesting and compelling one, but man lyrically it is such a downer (Ler’s sirens guitar plays that well).

It is followed by the awesome “DMV.”  Between Les’ cool tapping bass, Ler’s crazy noise-chords and wild solo and Tim’s great drums, not to mention the awesome lyrics about the DMV, this song is a major winner.

“The Ol’ Diamondback Sturgeon” has an interesting bass line and is a kind of mellow song that tells the tale of a big fish in the waters of San Pablo Bay.  Musically the bass sounds Middle Eastern–although there’s no mention in the credits of any instruments other than bass and mandolin, so how does he do it?

I love “Nature Boy” a weird song (aren’t they all) in which he talks about dancing around the house naked.  The verses are quiet while the chorus is quintessential Primus–slapped bass and stop-on-a-dime changes.  At around 3 minutes the song changes tempo into this really fast section with Ler’s insane guitar solo, and then it migrates into an awesomely catchy fast instrumental section which is over too fast.

“Wounded Knee” is a 2 minute percussion piece that Tim Alexander says was inspired by “Bury My Heart at Wounded Knee.”  It’s followed by one of the craziest songs in Primus history–“Pork Soda.”  The bass is a bowed upright bass (but bowed in a way that I’ve never heard before) and Ler’s guitar is basically a one note ringing.  And all the while Les is rambling on about something that you can barely hear.  Until the chorus comes in and you can all grab a can of pork soda.

The next song is “Pressman” which was on Suck on This. It was my least favorite song on that disc and it’s not a lot better here.  It’s a much better sound, but I think it’s long and kind of unremarkable.  But “Mr Krinkle” changes that.  Another bowed bass song (with the weird sounds he gets out of it).  This one had a crazy wonderful video. It’s followed by the bluegrass sounding “The Air is Getting Slippery,” a banjo romp in which the obvious rhymes with luck and pluck are switched with a quiet “forgive me if I hesitate.” It’s followed by a weird banjo solo from Ler.

One of the highlights of the record is the 8 minute instrumental (yes!) “Hamburger Train.  It’s got a lot of slap bass and Ler’s crazy noises all held in place by Tim’s drums.  The biggest difference is that Ler gets a pretty normal solo and Les also does a fast solo.  This was clearly just an excuse to jam for a while and it’s a good listen.

The disc basically opens and closes with “Pork chop’ Little Ditty,” a mandolin song that is under a minute.  Although there a kind of bonus track called “Hail Santa” which is just a sort of woozy bass sound and bells.

It’s an unexpected hit, and one that I have to wonder how many people still play.  If you have it, put it on again.

[READ: January 7, 2014] “The Referees”

I’ve only read one story from Joseph O’Neill before and I enjoyed it a lot.  I also enjoyed this one.  I thought it was nicely funny and also constructed in an unexpectedly amusing way.

The story begins with the narrator talking about meeting up with his fiend Mike.  Mike is complaining about his neighbor.  The asshole known as Gus (real name Gustavus).  Gus is, well was, an alcoholic and he’s trying to make amends.  But Mike knows that Gus is an asshole and doesn’t want to be friends.

The way the story is told, the narrator describes it in the past tense, but then he interjects dialogue as if it is occurring the present.  He even interrupts himself: (more…)

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Tessa Hadley–“One Saturday Morning” (New Yorker, August 25, 2014)

Posted in Death, Drinking, Marriage (Happy), New Yorker, Peter Gabriel, Pink Floyd, Primus, Short Story, Tessa Hadley, The Meters, The Residents, XTC on January 8, 2015| Leave a Comment »

824SOUNDTRACK: PRIMUS-Miscellaneous Debris (1992).

debrsiAfter the success of Sailing the Seas of Cheese, Primus created this five song EP of covers.  Les had just gotten a new Carl Thompson “rainbow bass” and he used the EP as a way to try it out.

This EP is, interestingly, their most listener friendly release thus far.  In part because they are playing more conventional songs (even if in an unconventional way).  Although they are not the most obvious covers:

Peter Gabriel-“Intruder.”  This is an earlier Peter Gabriel song (when he was still kind of weird).  The Primus version is suitably spooky and weird, but it is a great version.  It sounds a lot like the original, which is creepier than you might expect from Gabriel–but he was a weirdo before he became an adult contempo sweetheart.

XTC-“Making Plans for Nigel”  One of XTC’s more popular songs, this version is faster than the original, but right on and quite fun.

The Residents-“Sinister Exaggerator”  The Residents are quite weird (and may be the one band that is closest in spirit to Primus). This version is indeed pretty close to the original (although you can hear the lyrics better on the original!).

The Meters-“Tippi Toes”  The Meters area n old school funk band.  This is a song with no lyrics.  The Primus version sounds more full than the original (which incorporates Tiptoe Thru the Tulips”)  but it is quite faithful otherwise.

Pink Floyd-“Have a Cigar”  This is clearly the most popular original on the disc.  But Primus do a great job with it (Les is under the impression that Roger Waters didn’t like their version–but what do you expect?). They have a lot of fun with this song–keeping it close to the original (except for Ler’s guitar, mostly) and the twisted lyrics that say “who the hell’s this guy they call Bob Cock?”

So while this is a great introduction to Primus, it is not entirely representative of their sound. And yet, it sort of is as well.  Hence the title.

[READ: January 6, 2015] “One Saturday Morning”

Tessa Hadley continues to impress me with her beautiful stories in which really nothing happens.  It opens with a girl practicing her piano and ends with her and her brother looking at a bug.  And in between something almost happens, but not quite.

Set in the 1960s, Carrie is a ten-year old girl practicing her piano.  Her brother is outside playing cricket and her parents are out shopping for their party that evening.  Carrie hates practicing the piano–the music just doesn’t speak o her.  She also fears that her piano tutor is mad at her because of a childish letter she wrote and may have left at her tutor’s house.

While she is thinking about this, the doorbell rings.  She doesn’t recognize the man right away but she quickly realizes that it his her parents’ old friend Dom.  Dom is a big man, somewhat intimidating but affable. Carrie is intimidated by him though, especially since her parents aren’t around.  He hasn’t been around since he moved a way a few years ago.  But he says he is in town and wanted to visit friends.  She assures him that her parents will be home shortly and invites him in.  But rather than entertain him, she runs upstairs to hide. (more…)

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César Aira–“Picasso” (New Yorker, August 11 & 18, 2014)

Posted in Art, César Aira, Chris Andrews, Foreign Books, Funny (strange), Magic, New Yorker, Pablo Picasso, Primus, Short Story, Surreal, Translation on January 7, 2015| 1 Comment »

CV1_TNY_08_11_14Mattotti.indd SOUNDTRACK: PRIMUS-Sailing the Seas of Cheese (1991).

cheeseHere they come, here comes the bastards again.  Sailing the Seas of Cheese was the band’s major label debut, and they were given a lot of freedom to do whatever they wanted.  Which they did.

The first two songs sort of ease you into the chaos that is “Sgt Baker” a noisy stomp that mocks the military. It’s followed by “American life” a relatively quiet song that is rather sad.  Although I like Ler’s solo at the end (which is rather conventional for him).

But the album really takes of with “Jerry Was a Racecar Driver”, Primus’ first real hit.  Which is amazing in and of itself given how weird a song it is and how noisy (and moshy) the middle section is.  Fun drumming opens “Eleven,” a rocking song done in 11/4 time–count it, its crazy!  I just love the lunacy of “Is It Luck?”–the bass is fast and so bizarre while Ler’s guitars are playing one simple dissonant note for much of the song.  “You wanna get lucky little boy?”

“Grandad’s Little Ditty” is basically Les singing in the shower (and one of the few songs I know of which use the word “flatus”).  It leads into the new recording of “Tommy the Cat.”  This time the role of Tommy is played by Tom Waits, which make a slot of sense.  The Primus book has a funny story about Waits singing this (he sent them a version without having heard the song and he sang it through a megaphone).  The bass in the middle of the song is just incredible.

“Sathington Waltz” continues the adventure of Sathington Willoughby, although this is a scattered instrumental with banjos and loud drums (and lots of guests).  “Those Damn Blue Collar Tweekers” is a stomping song with a great riff.  I never knew exactly what it was about (not that its hard to figure out), but the book explains exactly who Les was talking about.

“Fish On” is a 7 minute song (most of the songs on this record are shorter than on Frizzle Fry) with a lengthy intro and outro.  The disc ends with “Los Bastardos” a reprise of the opening bastard music with some samples from The Young Ones and all kinds of friends playing along.  It’s a really fun record with some absolutely classic songs on it.

Shut up you bastards!

[READ: January 5, 2015] “Picasso”

The ever prolific César Aira had a new short story in The New Yorker (he usually writes novella length pieces, but this appears to be an actual short story (3 pages)) which is a little different.

In the story, the narrator says he was in the Picasso museum enjoying the artwork when a genie came out of his bottle of Miracle Milk and offered him a choice: Would he rather have a Picasso or be Picasso.  I enjoyed this twist on the typical three-wishes genie (he even mention how most people are prepared to ask for more wishes), and that this was totally unexpected.

To me, the answer was obvious from the start, Picasso was a pretty unhappy guy, why would I want to be him?  Of court, as the narrator goes through the options, he says that if you were Picasso you would automatically have all the Picassos.  Plus, he says that he himself has a pretty unhappy life, so Picasso would be a step up.

The narrator reviews Picasso’s life and output, but ultimately he decides that owning a Picasso would give him the financial security to allow himself to write his novels.

As soon as he thinks that, a painting appears on the table in front of him.  It is clearly a Picasso.  He spends the next few paragraphs describing the painting and then comes upon a “meaning” for it.  It’s an interesting look at a Spanish fable or joke.  The fable involves a queen who is lame and her servants who want to tell her without actually telling her.  The punchline of the joke comes down to “Su Majestad, escoja” which translates as “Your Majesty, choose” or if the last word is broken up (into es coja) “Your Majesty is lame.”  It’s a pretty elaborate painting or what amounts to a joke (and I have no idea if this is a real painting or not).

As the story comes to an end, the final paragraph introduces a whole new aspect of the story which was hilarious and unepxetced.  It was a great twist.  I do have to wonder if this is part of a bigger story because although it feels complete, I could easily see him following this character further.

This was translated by Chris Andrews.

For ease of searching I include: Cesar Aira

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Paul Theroux—“Action” (New Yorker, August 4, 2014)

Posted in Boston, MA, New Yorker, Paul Theroux, Primus, Rush, Short Story, Threats on January 6, 2015| Leave a Comment »

ny ayg4SOUNDTRACK: PRIMUS-Frizzle Fry (1990).

frizIt always made me laugh that this album opens exactly the same as Suck on This–with the opening drums to Rush’s “YYZ.” But it quickly bends into the propulsive bass of “To Defy the Laws of Tradition.”  For many, this was their first listen to Primus, and hearing the crazy noise of Ler’s guitar come roaring out of the speakers followed by Les’ insane bass line and Tim’s wild drumming–it’s unlike anything I’ve heard before or since.  And then later to hear the tapping of the bass notes during the chorus–it’s certainly defying laws of rock tradition.

The lyrics of “To Defy” are interesting to me (if Christmas didn’t come, who would cry more the child or the stores?).  I also always loved the lyrics of “Groundhog’s Day” (“lingering taste of toothpaste made the milk go down a bit funny”).  I like the fidelity of this recording better than Suck on This (all five re-recorded songs actually).  This song also gives Ler a lot of pace for a long solo. “Too Many Puppies” is one of the earliest song  Les wrote (although I believe it was different in speed at the time).  It is a loud song in which Ler’s guitar stays hidden for a while then bursts forth full of noise and chaos at opportune moments.

“Mr. Knowitall” is also full of great lyrics (“they call me mr know it all, i am so eloquent, perfection is my middle name and whatever rhymes with eloquent”) and a really groovy bass with interesting “lead” guitar work.  I feel like the drums get a prominent place in “Frizzle Fry” (the drums are great all the way through, but they really shine here).  Of course the fast section at 4:40 is pretty amazing, too.

The opening to “John the Fisherman” is different than on Suck on This and it is crazy the sounds he get out of that bass. The quality of this recording (and the video) are great.

“You Can’t Kill Michael Malloy” is  26 second piece that was composed and performed by Matt Winegar (according to the Primus book the song is actually much longer and Les wishes he had played the whole thing here).  It leads to the slow intro of “The Toys Go Winding Down” which features one of my favorite triplet-filled bass lines ever.  It also features some great bowed bass from Les.

I love that “Pudding Time” opens with such a great amount of noise and that the bass is actually more of a percussive instrument for the verses.  “Sathington Willoughby” is another weird little song (25 seconds) that gave them a chance to play with banjos.  It serves as a great intro to the wild drums of “Spaghetti Western.”  This is the strangest song on the disc (which is saying a lot).  It’s almost an instrumental with Les reciting a little story about watching Spaghetti Westerns on TV (the way the boots are all reverbed out).

“Harold of the Rocks” is such a great song and this version sounds great–you can really hear what Ler is doing.  It ends the album in a fun way.

Frizzle Fry is still one of my favorite albums, and it still sounds totally weird and unique all these decades later.  I was marveling at how long this album is and how long many of the songs are–quite an auspicious “debut.”

[READ: January 5, 2015] “Action”

I have basically blown off the New Yorker since last summer and have now made it my resolution to read all the issues I missed from last year in a timely fashion.  So here I’m starting with August.

I often like Paul Theroux’s stories, although I don’t really have a sense of his style overall.  This story proved to be very simple but incredibly detailed.

It is about a boy, Albert, who works for his father in his shoe store.  Albert’s father was a widower and a very economical man–he would often only speak in one word sentences, especially to Albert (“‘Where?’ meaning, “Where have you been?'”).  His father worried about him, but didn’t really show it.  Rather, he monitored everything that Albert did.  He made sure that Albert was working most of the time that he wasn’t in school (even when the store wasn’t busy).  So Albert had no social life.

Albert did have one friend (whom his father greatly disapproved of) named Eddie.  Albert liked Eddie especially because Eddie often said “I’m a wicked bad influence.”  Eddie knew all about Boston and showed Albert around to places that his father would have been very upset by.  Of course, Albert had no money so he never went in these places, he just knew of them.  Eddie also introduced Albert to his “girl” Paige, whom he described as easy. (more…)

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Greg Prato–Primus: Over the Eletric Grapevine: Insight into Primus and the World of Les Claypool (2014)

Posted in 24-7 Spyz, Books about music, Buzz Osborne, Chuck D, Drinking, Drugs, Eugene Hutz, Fishbone, Geddy Lee, Greg Prato, Hank Williams III, James Hetfield, Kirk Hammett, Larry LaLonde, Les Claypool, Limbomaniacs, Matt Stone, Metallica, Mike Watt, Muse, Oysterhead, Possessed, Primus, Sausage, South Park, Stewart Copeland, Tim Alexander, Tom Morello, Tom Waits, Trey Anastasio on January 5, 2015| Leave a Comment »

primus bookSOUNDTRACK: PRIMUS-Suck on This (1990).

primus suckThis was the disc that introduced me to Primus–it was on a beach vacation with my friends Al, Joe and Rad.  Al made this the soundtrack of the drive and, man, it was weird and crazy and super cool and by the end of that trip I was hooked.

Actually I was immediately hooked when the band opened this live disc with a rough version of Rush’s “YYZ” which then launched into “John the Fisherman.”  What do you make of this band and this weird song?  Stomping bass which is doing all of the lead stuff, with guitars that are just noises and craziness but which really work with what the bass is doing (once you listen a few times, anyway).  The drums are mammoth and very prog rock.  And then there’s Les’ voice–cartoony and unconventional–sometimes deep, sometime really silly, sounds that work perfectly with the storytelling lyrics.

The quality of this recording is pretty poor, although I find that it sounds a bit better on smaller, less “good” stereos, where Ler’s guitars don’t get lost so much in the bass.  Most of these songs have been re-recorded for later albums, so perhaps the newer versions sound cleaner to me.  [Groundhog’s Day, Frizzle Fry, John the Fisherman, Pudding Time and Harold of the Rocks on Frizzle Fry and Tommy the Cat on Sailing the Seas of Cheese].

The best songs on this disc have really catchy parts: “John the Fisherman” (most of it) or the insane fast bass and wild soloing section of “Groundhog’s Day.”  Sometimes it’s just when the noise stops and Les gets a line, like “It’s Just a Matter of Opinion” (in “The Heckler”).  Although the noise there is really catchy too–listen to what Ler is playing during the funky bass section–it’s wild and amazing.

Of course “Tommy the Cat” is a major standout from all three guys.

The only song that doesn’t really work for me is “Pressman” which seems a bit too long without a lot of resolution (although the end is pretty cool).  I often get “Jellikit” (the other song that didn’t make it to a studio album) in my head, whenever I think, Did you like it?  There’s even a drum solo from Herb the Ginseng Drummer in that song

What’s fun is that the audience is totally into it and they know most of the songs–anticipating lyrics and even singing along.  And this is where “We’re Primus and we suck.” comes from.  It was a shocking debut when it came out, and it’s still pretty unusual, although not as unusual as some of their later songs would be.

[READ: January 3, 2015] Primus

As I said above, I’ve been a fan of Primus since near the beginning of their existence.  And yet, for all of my enjoyment of them, I didn’t really know all that much about their origins.  I didn’t know that the original line up was Todd Huth and Jay Lane (guitars and drums), and that the three of them wrote the songs that appear on Suck on This and much of Frizzle Fry.  Ler had to learn these unusual parts (Ler took lessons with Joe Satriani and is much more accomplished than his lack of flashiness indicates) and did so wonderfully. I also didn’t know that Les and Kirk Hammet were in the same class in high school (and that he’s the reason Les picked up a bass in the first place, even though they never formally played together).

The book is constructed as a series of quotes from a vast assortment of people.  The “cast” is two pages long and includes current and former members of the band and management as well as fans like Trey Anastasio, Matthew Bellamy (from Muse), Geddy Lee, Chuck D, Eugene Hutz, Tom Morello, Buzz Osborne, Matt Stone, Mike Watt, Hank Williams III, guys from 24-7 Spyz, Fishbone, Limbomaniacs and even Linda Perry (!).

It opens with Les talking about his high school years.  And what’s amazing is how many people who were involved in Primus are friends from when he was a kid.  If they didn’t play together, they were involved with art or management or something.  We also get the origin story of Bob Cock, which answers many questions.

Les had formed Primate (legal dispute with the band The Primates made them become Primus) with Todd and Jay.  They toured a lot and were gaining a following, but Les was always looking for something more.  He even auditioned for Metallica after Cliff Burton died (Kirk thought it sounded great but I guess James didn’t). (more…)

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M.T. Anderson–Jasper Dash and the Flame-Pits of Delaware (2006) M. T. Anderson’s Thrilling Tales (Pals in Peril Book 3) [audiobook 2009–Marc Carman]

Posted in Adventure, Anachronisms, Audiobooks, Children's Books, Culture Shock, Delaware, Fears, Funny (ha ha), Gangsters, M.T. Anderson, Marc Carman, Meta, Monks, Revenge, Stare-Eyes, Technology on January 4, 2015| Leave a Comment »

[LISTENED TO: December 29, 2014] Jasper Dash and the Flame-Pits of Delaware

delWe are now hooked on the Pals in Peril series.  This, the third book, promised to be the funniest and weirdest yet.  I mean, look at the title.

But this book proved problematic for us for two somewhat related reasons.  The first is that we usually listen to longer books like this when we have a lot of driving to do.  We didn’t have any major big drive ahead so we wound up listening in small chunks, which was a little confusing.  The kids were able to follow quite well, but after a couple of weeks some details are bound to get lost.  The second reason is that this book is long.  It was a 6 hour audio book as opposed to the 3 hours of the other two books.

The brevity of Whales on Stilts was a real treat.  In it, Anderson wrote that he didn’t like to write action scenes because they were all the same.  Same with chase scenes.  But in this book, he has our heroes slogging through the wilderness for literal days (and almost an entire disc).  It got a little samey, I feel–especially since we were listening in small chunks at a time.

This is not to say that the book wasn’t enjoyable. There were hundreds of hilarious moments in it.  Even in the duller sections, he often threw in an absurd joke (or ten) that made me laugh.  So maybe if we had listened all at once this would have held up better.  But honestly it was only the middle that was kind of trudging (when they were trudging) because the beginning and end were great.

This happens to be another book where reading it would have been entertaining in other ways–the characters of Delaware have virtually no vowels in their names.  Mark Cashman (who did another awesome job reading) does a fine job saying their names, but I had to find a print copy in the library because I needed to know how these crazy words were spelled.

So, what happens? (more…)

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The Legend of 1900 (1998)

Posted in Alessandro Baricco, Books about music, Cinema Paradiso, Ennio Morricone, Jelly Roll Morton, The Legend of 1900, Translation, Travel on January 3, 2015| Leave a Comment »

[WATCHED: December 29, 2014] The Legend of 1900

1900After really enjoying Novocento, I wanted to see what they would do with a film of the book.  I was especially curious how they took the sixty-some page monologue and turned it into a 2 hour film.

The film was written by Giuseppe Tornatore who directed Cinema Paradiso.  It was filmed entirely in Italy (which explains how they got the New York scenes to look so old world) and yet it was written entirely in English (apparently before Novocento was translated).  It starred Tim Roth as Nineteenhundred (not Novocento, like in the book) and a bunch of other people I didn’t know.

The movie was, as I say, written by Tornatore, based on the book. He kept virtually the entire book the same for the movie.  But he added a bookend section to give the narrator someone to talk to.  And this is how the film was stretched out to two hours.

The new parts are certainly interesting.  Max, Nineteenhundred’s only real friend and fellow shipboard musician, is selling his trumpet at a pawn shop.  This part confused me because the pawn shop owner is British, but I thought the ship was docked in New York.  But whatever.  He plays his trumpet one last time and the melody he plays is the same one that the shop keeper then plays on a phonograph. (more…)

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Joe Hill & Gabriel Rodriguez–Locke & Key: Volume Six : Alpha & Omega (2014)

Posted in Big Black, Butthole Surfers, Christmas Album, Death, Demons, Fears, Gabriel Rodriguez, Ghosts, Graphic Novel, Happy Flowers, Joe Hill, Record Labels, Revenge, Supernatural, Violence, Yuck! on January 2, 2015| Leave a Comment »

locke6 SOUNDTRACK: HAPPY FLOWERS-“All I Got Were Clothes Christmas” (1986).

godsAfter all of this mostly respectful Christmas music, I had to throw in one crazy stupid ugly horribly song.  But that’s mostly because I forgot it existed until I stumbled on it the other day.  The Happy Flowers were a terrible band (seriously).  They were the kind of band that seemed to blossom in the late 1980s which don’t seem to exist anymore (for better or worse).  They were beyond noise, this was just a crazy noisy pile of sound with screamed lyrics that have nothing to do with the music.

I loved them.  But not really, because they were terrible.  But it was fun to know that people not only made music like this but that it could find a record label (and presumably an audience).  I used to enjoy playing their songs on my radio show.

The Happy Flowers were two guys from Charlottesville, VA.  They were in another band (the Landlords) so presumably they could play their instruments, although I don’t know that band at all.  Their stage names were Mr. Horribly Charred Infant, (drums, vocals) and Mr. Anus, (guitar, vocals), so you have a sense of what we’re dealing with here.  And yet you really can’t be prepared for it.

This song is basically just feedback and two adult men screaming about how they wanted to get toys for Christmas but all they got was clothes.  For four minutes.  And it made it onto the above compilation, God’s Favorite Dog, with Big Black and the Butthole Surfers.

If your Christmas didn’t live up to your expectations, perhaps you need to hear this.  Or perhaps not.

[READ: December 29, 2014] Locke & Key 6

I knew I couldn’t hold out until the new year to finish this series.  I was compelled to keep going.  There was nothing I could do to hold back, as if some kind of spirit kept pulling me towards the books.

And the ending did not disappoint.  Well, it did disappoint a little in that so many people ended up dead.  I couldn’t believe how many people who I grew to care about were killed in various ways.

There’s really no time for flashbacks in this book, although we do get occasional look-backs.  We see the Locke kids make up with the friends that they have alienated. We also see that the kids’ mom has been sober for 30 days (this whole series takes place over a much longer time than it seems).

We also see Rufus come to say goodbye to the Locke family. While he is waiting for Bode to come up from the water, Rufus sees Bode’s ghost who tells him that the person in Bode’s body is not him but is actually Scout.  Rufus immediately attacks Bode when he arrives.  This send Rufus to the same institution that Erin Voss is in.  While he’s in there we see him already making plans to escape.  And it turns out that Erin Voss is able to communicate with him (sort of) and she is able to help in her own way. (more…)

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