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Archive for July, 2018

Robert Louis Stevenson–“The Clockmaker” (Harper’s, April 2006)

Posted in Cloud Nothings, Funny (ha ha), Gods, Harper's, Live at Massey Hall, Microbes, Nirvana, Philosophy, Short Story, The Replacements, Word usage on July 19, 2018| Leave a Comment »

SOUNDTRACK: CLOUD NOTHINGS-Live at Massey Hall (October 4, 2017).

Cloud Nothings are, to my knowledge, the first non-Canadian band to be featured on this Live at Massey Hall series.  The band (which was at one time the solo project of Dylan Baldi) is from Cleveland.

Baldi talks about growing up in Cleveland, Rush and cover band and then putting music online and getting found out.

“Pattern Walks” opens with a great rumbling loud bassline from TJ Duke. This is without a doubt the loudest show of the series (so far).  Baldi has a great rock singing voice that falls somewhere between Kurt Cobain and Paul Westerberg..  The music for this song is fast and loud with some great ringing out guitars from one of the guitarist while the other plays some melodic sections.  The backing vocals (from Duke) just help to bring the melody forward.  The nonstop pounding drums (from the utterly remarkable Jauson Gerycz) keep up the relentlessness.  I love that both guitarists (Baldi and Gris Brown) play a squalling feedback solo at the same time but also independent of each other.

The end of the song is kind of feedback jam which Baldi describes (they intercut his interview) as “lots of parts that are sort of free-form…live we can just go off into more self-indulgent occasionally boring things.  And that’s what I like.  Hopefully it’s not too much.  That kind of stuff is more fun for me than playing the same song every night.”

Psychic Trauma is a bit more poppy/Replacements-sounding.  Even when it thumps in double time for the chorus, it’s still petty clean.

“Modern Act” is the catchiest so far.  Midway through the song Brown plays a solo and its fun to watch him manipulate the sound by playing with the dials on his pedals.

Duke says to the crowd that Neil Young Live at Massey Hall 1971 is one of my favorite records of all time so I’m a little freaked to be here.  Thank you all.

“Fall In” is a thumping pounding track with a whaling guitar solo.  Once again Gerycz is just a flurry of activity.  While “I’m Not Part of Me” is really catchy.  The middle has a fun section that sounds like a great lost Replacements bridge.

“Wasted Days” is the last song.  It opens with both guitarists playing different thing until the drums pounds in.  And once again the drums are amazing throughout.  The song lasts about 3 minutes when it slows down to a slapping drum and Baldi manipulation effects pedals while he continues to solo.  Brown plays with high notes.  The propulsion during this jam seems to be controlled by the drummer who is going fast and slow intermittently until he exhausts himself.  Meanwhile, Duke plays a steady two-note bass over and over.  After two minutes of that the band jumps aback up and starts again.   After nearly ten minutes incredible minutes, the final chorus returns.

It’s an amazing show.

[READ: February 1, 2018] “The Clockmaker”

I had a really hard time following this story at first.  Partially because I didn’t know what an animacula was–and whose fault is that?

A carafe filled with water has been sitting on a table for a week.  The animacula (microbial creatures) “had attained a great antiquity.”

These creatures delighted in astronomy and philosophy.  They based the theory of their world on everything they saw around them–light from the windows and of course the giant clock that sat across from them.  One philosopher thought of a clock maker theory of the world–a giant anilaculum of unheard of bigness who did something to the clock every day.

This version was widely accepted as the truth.  They identified the giant man with the sun and began to think of him as the Clockmaker. (more…)

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Speedy Ortiz (PhilaMOCA, Philadelphia, PA, July 18, 2018)

Posted in Jessica Lea Mayfield, Mal Blum and the Blums, Philadelphia, PA, PhilaMOCA, Speedy Ortiz on July 18, 2018| Leave a Comment »

[ATTENDED: July 18, 2018] Speedy Ortiz

I really enjoyed Speedy Ortiz’ Foil Deer.  Sadie Dupuis has a great sense of melody (in a delightful alt-90s rock package) combined with excellent lyrics.  Check out this great blurb about Dupuis’ lyrics:

It’s very strange (“Or not strange at all! Hi!” says feminism) that most of the music we funnel into little girls’ ears——even music written by former little girls——is about how women are petty, pretty garbage whose only valuable function is to hold perfectly still in men’s boudoirs and wait for intercourse. “I wanted to make songs that were the opposite of ‘Genie in A Bottle’ or ‘The Boy Is Mine,’” Sadie Dupuis says of Slugger, her new solo album under the name Sad13. “Songs that put affirmative consent at the heart of the subject matter and emphasize friendship among women and try to deescalate the toxic jealousy and ownership that are often centered in romantic pop songs.” What!? Songs for women that actually champion women’s autonomy, reflect women’s desires, listen to women when they talk, and let women be funny and normal and cool, like women actually are?   – Lindy West

When Speedy Ortiz released their new album, they did a mini tour of…ice cram parlors.

As The Key noted:

It was a little suspicious, previously, that Speedy Ortiz’s only tour appearance in Philly would be at Little Baby’s Ice Cream in West Philly to scoop a new flavor, “Twerp Verse Dessert Burst Sundae,” and not to perform.

Then they announced a proper tour, which included a headlining spot at PhilaMOCA.  Amazingly, four days after our show, they were going to open for Dinosaur Jr and Foo Fighters at Fenway Park!  I don’t know how many people arrived early enough to see them, but I have to assume thy were seen by more than the 150 capacity crowd at PhilaMOCA.  And yet Sadie said she was more excited about our show than that one.  And it seemed like it.

Before the shows even began, Sadie was hanging out at the merch table.  We chatted, she sold me a copy of Twerp Verse and even signed it for me.  She was super nice.   (more…)

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Two Inch Astronaut (PhilaMOCA, Philadelphia, PA, July 18, 2018) [SPEEDY ORTIZ]

Posted in Philadelphia, PA, PhilaMOCA, Two Inch Astronaut on July 18, 2018| Leave a Comment »

[ATTENDED: July 18, 2018] Two Inch Astronaut

I had heard Two Inch Astronaut on NPR and loved them.  I put them on my list of bands to check out.  So I was really excited that they were opening for Speedy Ortiz.  I got there early and wound up right in front of the stage where I was able to watch Sam Rosenberg play amazing and complicated riffs right in front of me.

Matt Gatwood was also great on drums–he hit really hard but in sophisticated rhythms that really worked with the jagged and noisy guitar that Rosenberg played.  On my right was Andy Chervenak on bass.  He was all over the fretboard, playing low and high notes to complement and contradict everything else that was going on.  It was a terrific package of music.

Until about four songs in when Rosenberg explained that this was their final tour.  They were breaking up after the next show.  It was an amicable breakup, “Nothing dramatic — still get along and love playing, but we’ve been doing some form of this band for almost ten (!?) years and it’s time to shake things up a bit,”

But still. (more…)

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Old Maybe (PhilaMOCA, Philadelphia, PA, July 18, 2018) [SPEEDY ORTIZ]

Posted in Old Maybe, Palberta, Philadelphia, PA, PhilaMOCA on July 18, 2018| Leave a Comment »

[ATTENDED: July 18, 2018] Old Maybe

I had never heard of Old Maybe before this show, although I understand that they have been playing together for a while. (Their earliest demos are from 2014).

The band consists of Jazz Adam (guitar and vocals), Ricardo Balmaseda (bass and vocals) and Nina Ryser (drums).

The only person I knew in the band was Nina Ryser whom I had seen on this very stage when she played with Palberta a year or so ago.

But this band belongs to Jazz Adam on vocals and guitar.  She invited anyone of color or non-cis to the front of the audience before the show began.

I didn’t know much about her, so I have learned that

in 2015 Adam began playing solo shows, performing most songs a capella, creating vocal layers with looping and effects pedals.  Adam attributes her lack of stage fright to her background in theater and stand up comedy. “I am able to be myself onstage,” she says. “And I am aggressive.” [Quote from The Spark).

Adam has been pushing that belief in Philadelphia via All Mutable, a booking collective she started with Nicki Duval and Robin Meeker-Cummings. The mission of the collective is to “diversify lineups sonically and racially,” she says. “Our focus is to book lineups that represent and attract those who are under-represented in this music scene, including (but not limited to) POC, queer identified, trans identified, and those who identify as non-binary. We also hope to sonically diversify lineups, and represent genres that are not often recognized in this culturally homogenized city.”

(more…)

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Frederick Bosch–“Patrols” (Harper’s, October 2006)

Posted in Born Ruffians, Canadian Music, Dogs, Excerpt, Frederick Bosch, Harper's, Huh?, Iran, Live at Massey Hall, War on July 18, 2018| Leave a Comment »

SOUNDTRACK: BORN RUFFIANS-Live at Massey Hall (October 14, 2017).

Born Ruffians are a trio who plays fairly punky music but with a surprisingly high-pitched singer Luke Lalonde.

When the show opens, he says I don’t think I ever considered that I would play here–it wasn’t even something …it seemed out of the realm of possibility.  Look at all the people who have played here (waves at pictures) Bassist Mitch Derosier says that these are employees of the month.  And t here is silence.  Drummer Steve Hamelin says do we have to laugh for that?  Mitch: I wanted someone to.

Lalonde says “it feels cool as hell when you’re on that stage.”  Hamelin: “hopefully it is the first of more.”

“Ocean’s Deep” has a loping bass and mostly high chords until the chorus when they burst forth more.  Lalonde’s guitar is almost rockabilly sounding (because it is a hollowed body?)  The drums totally pound (and Hamelin is up front facing the other two).

“Don’t Live Up” has an interesting guitar melody with rather unexpected notes

“& On & On & On” has a cool bass line and a catchy oh oh oh oh oh oh verse melody.  Then he tells the crowd that they just recorded a record and its out soon so they’re going to play some songs off it. (Which this last song was but he next song isn’t).

“Fade to Black” has punchy drums and a fast punky bass. The chanted backing vocals give it a real punk edge.”  After the song someone shouts, “you guys fucking rock, man,” to which Mitch responds: “that was my mom.”

“Miss You” has a great call and response punk feel “with your head held high–with your head  held high” it sounds great.

“Love Too Soon” opens with gentle echoed guitars a weird-sounding whistle from Luke–echoed or processed and rather eerie, but very compelling.

“Forget Me” is a song about dying.  It starts acoustically followed by a kick drum with Hamelin encouraging everyone t clap along with him.  The song dramatically changes pace midway through–slowing down with big thumps until it slowly speeds up again.

Lalonde switches to electric guitar with a heavy echo for “Needle”.  This was my favorite song and I wondered if I’d heard it before, the vocal melody was very familiar and catchy.

The final song, We Made It” has some cool fast plucked guitar chords (from bass and guitar) and some great triplets on the drums.  It’s a powerful punky thrasher with a big, loud, crashing (very satisfying) false ending.

[READ: February 2, 2018] “Patrols”

I really enjoyed the way this story began.

Marty Mason was staying at a place which housed a dog, Murphy.  Each night the dog left his owner’s room, snuffled around and came to settle by Marty.  He would settle by Marty’s bed, alert, for the night.  If Marty looked at the dog, it would slap its tail against the floor.  If he tried to lock the dog out it would scratch and whine.

This prevented Marty from sleeping, but also prevented him from getting up.

Then the story flashes back to a military scene and I kind of lost focus. (more…)

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Allan Gurganus–“Fourteen Feet of Water in My House” (Harper’s, January 2006)

Posted in Barenaked Ladies, Boats, Canadian Music, Flood, Harper's, Jane Siberry, Live at Massey Hall, Romance, Short Story, Twin Peaks on July 17, 2018| Leave a Comment »

SOUNDTRACK: JENN GRANT-Live at Massey Hall (June 23, 2017).

I don’t know Jenn Grant, although her music sounds somewhat familiar.  She’s from PEI originally but her family moved to Nova Scotia when she was ten.  She recently moved back to Nova Scotia with her husband, where they live by the ocean and the woods.

For this show, she is joined by Daniel Ledwell, Michael Belyea and Tavo Dies de Bonilla.  On a couple of songs, she has Julie Fader and Kim Harris for backing vocals (this is Fader’s second appearance in the series).

Years ago shed opened for BNL at Massey Hall, but she wasn’t present. This time she’s very aware of things like the large but intimate feeling of the place.  During soundcheck she felt she never sounded better

“Paradise” is a slow keyboard song with electronic drums.  It’s moody in a Twin Peaks kind of way.  Although it picks up for the chorus.  The drum sounds in the middle of the song sound like when my phone speaker is over powered, it’s unsettling.

“I am a River” is interrupted by her speaking about her new record.  It’s interesting that her music is quite electronic since she is so inspired by nature.  Although this song does have more organic elements like piano and such.

She introduces “The Fighter” by saying “This is a song from an album that we made once.”  She plays electric guitar and that creates more drama and texture in the song.  This has a great overall sound.

“I’ve Got Your Fire” starts with piano.  This song sounds familiar–I wonder if I know it or if it just sounds like a Jane Siberry song.  It’s very pretty.

“No One’s Gonna Love You (Quite Like I Do)” is mellow song, also quite pretty.  “Galaxies” is a bit higher energy and she says it’s “fun to perform for an audience.”  It’s got a cool retro keyboard sound.  Dreamer ends he show quietly with delightful backing vocals.  I like the way the song slowly builds.

[READ: January 25, 2018] “Fourteen Feet of Water in My House”

This story sets everything up right from the get go:

My hometown flooded.  Prediction, as usual, failed us.

And so, when the narrator wakes up with a river in his house, he is quite pleased to see that his boat, kept in the backyard, was banging on his second storey window.  He is barely awake but he jumps into the boat headfirst.

“This is real… Dad’s house is ruined…. Boat seems fine though…. People probably stranded … ”

The rest of the story is his adventure saving people. (more…)

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T.C. Boyle–”Question 62” (Harper’s March 2006)

Posted in Animals, Canadian Music, Cats, Harper's, Live at Massey Hall, Sex, Short Story, T.C. Boyle, The Wooden Sky, Tigers, Vegetarian on July 16, 2018| Leave a Comment »

SOUNDTRACK: THE WOODEN SKY-Live at Massey Hall (June 23, 2017).

I don’t know this band at all.  I’m fascinated that he lead singer Gavin Gardiner and the keyboardist Simon Walker have the same haircut and glasses but are not related.  The band has a kind of folk-rock vibe.  Nothing really stands out about them to me, but I did enjoy the songs while they were playing them.

For The Wooden Sky, getting to Massey Hall always seemed unreachable.  But they say that getting here you can feel the history and see that the place opened in 1894.  Its pretty surreal.  Just looking out on stage you can feel–holy shit, this is cool.

“Life is Pain, Pain is Beauty” is a six-minute song that opens with a nifty guitar riff.  The keys and violins act as a kind of drone underneath.  The middle has a cool rollicking section with big drums and groovy keyboard solo.  There’s a nice jam element to the song, too with Jason Haberman on bass.

Gardiner has a kind of drawl or something.  His delivery is unique without being especially noteworthy.  On some of the later songs he puts on a strange vibrato that I find a bit unsettling.

“Our Hearts Were Young” has a cool violin part that runs through the song.  The backing vocals during the chorus are amazingly catchy.

It’s weird that they interrupt this song to talk about them making their record.  They miss a verse and a solo of the song to talk about them recording in their own studio.

He introduces “Deadhorse Creek” by saying that his parents are celebrating their 40th anniversary in a couple of days so this if or them.  It’s about living and growing up in Manitoba.

This song is also interrupted so they can talk more about working in the studio, how they recorded this song three different times.

There a wild harmonica solo from Gardiner mid song.

He invites his best friend Andrew Wyatt to the stage to play banjo–you know the passion he brings to the stage.  HE is listed as a member of the band, so this is a weird moment with him on stage.  They play “The Wooden Sky,” a mellows darker song where Gardiner introduces that vibrato singing. There’s a more mellow harmonica solo.

“Swimming in Strange Waters” is the most fun song. It rocks with some wild singing by the end.

“Angelina” ends the show quietly with Gardiner singing solo with acoustic guitar.  He says it is dedicated to his friend Aaron who passed away in 2010.  The rest of the band gathers around behind him as he plays.  Midway through the song Edwin Huzinga introduces a fiddle melody and Andrew Kekewich plays a kick drum as the song builds.   They all gather round to sing backing vocals.

[READ: January 24, 2018] “Question 62”

This short story has two plots running parallel.  It involves two sisters and wild cats.

How’s this for an opening line:

She was out in the flower bed, crushing snails–and more on them later–when she happened to glance up into the burning eyes of an optical illusion.

Until recently Mae had lived with her sister Anita in Waunakee, Wisconsin.  She now lived in Southern California where it never rained, except that it had been raining all week.  The snails loved this rain and were destroying her garden.  Which is why she was destroying them–despite being a vegetarian and wishing no harm to come to animals, really.  She and Anita made a vow to become vegetarian in junior high school.

But it was while she was crushing snails that she looked up and saw…could it be?  A tiger? She was startled, obviously.  She quietly cried for her husband (he was asleep inside). The tiger didn’t seem aggressive, it just seemed inquisitive at the sound of her voice. (more…)

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Sam Lipsyte–“The People Who Kept Everything” (Harper’s, September 2009)

Posted in Boredom, Corporate skewering, Drinking, Drugs, Excerpt, Funny (ha ha), Harper's, Humiliation, Knives, Marriage Trouble, Meta, New Order, Sam Lipsyte, Set at School, Smarty Pants, The Divine Comedy, Universities, Violence on July 15, 2018| Leave a Comment »

SOUNDTRACK: THE DIVINE COMEDY-Loose Canon: Live in Europe 2016-2017 (2018).

I loved The Divine Comedy at the turn of the century (the fin de siècle, if you will).  They were one of my favorite bands.

Since then Neil Hannon (the man behind the band) has released a few albums which I have liked–but none as much as those early records.

This recording is primarily his latter songs, and as such isn’t as exciting to me.  (Although setlists from the tour shows that he played a lot of older songs as well, so this disc is mostly a latter period recording).

The first three songs are from the newest album Foreverland: “How Can You Leave Me On My Own,” “Napoleon Complex” and “Catherine the Great.”  And among the next few songs are “To the Rescue” and “Funny Peculiar.”   So that’s five in all from that album.

The previous album Bang Goes the Knighthood accounts for five more songs “The Complete Banker,” “Bang Goes The Knighthood,” “At The Indie Disco,” “Assume The Perpendicular” and “I Like.”

So that’s ten of seventeen from the two latest albums.

After listening to it a few times I have come to appreciate his newer music even more and to see that it is equally as cleverly crafted.  He’s just a different person now with different lyrical and musical ideas.  I will certainly give a re-listen to the last decade;s worth of music.

“How Can” is fun a bouncy, “Napoleon” is snarky and witty.  “Funny Peculiar” is a duet with  guest vocals from Lisa O’Neill.  She has a fascinating singing style which is kind of peculiar in its own way.

“The Complete Banker” is wonderfully sarcastic and catchy and “I Like” is so simple and delightful.  “Assume the Perpendicular” is an other fun uptempo song, but of this batch its “Indie Disco” that is the real highlight (this includes an excerpt from New Order’s Blue Monday”).

It also sounds like this was a fun souvenir for anyone who saw the tour (he dressed up as Napoleon and others, and apparently “Indie Disco” was really fun live).  I have always wanted to see them and hold them high on my list of bands to see.  But he hasn’t been to the States in almost ten years, so I don’t have high hopes to experience them live.

The band for The Divine Comedy’s live shows has changed over the years, sometimes large and orchestral or, like this tour, a simpler five-piece.  They sound good although they do underplay the orchestral quality of the music.

Going back there’s one from Victory for the Comic Muse “A Lady Of A Certain Age” and one from Absent Friends “Our Mutual Friend.”  These two songs are lovely and quite poignant, especially “Lady.”  They are a far cry from the raucous songs of old.

The first older song is from 2001’s Regenertaion with a wild and fun rendition of “Bad Ambassador.”  His voice doesn;t sound great on this song.  I’m not sure if he ever sounded great live, but he certainly underplays some of the bigger moments in the song.

The crowd really gets pumping for Fin de Siècle‘s “Generation Sex” and “National Express.”  These two songs are a lot of fun and I imagine mus t be really rousing live.  Once again he doesn’t sound great. Not that he has lost his voice but almost like he;s not trying all that hard.

The disc is collected from shows all over Europe, so its interesting if they picked songs where he doesn’t sound that great.

It’s not until the encores that he brings out two really old songs 1994’s “A Drinking Song” and “Tonight We Fly.”

I’m sure they picked this particular version of “A Drinking Song” because he admits to being quite drunk himself.  And there’s a funny moment where he gets a hair caught in his throat.  “Is it yours?”  Indeed, his banter with the audience is a highlight.  He is clearly a good showman, and perhaps that makes up for some of the shortcomings of the disc.  This song is a good example.  His voice is much louder than the instruments and, frankly, he doesn’t sound that great as what is mostly a capella–but the overall presentation is fun.

The ending “Tonight We Fly” is a treat as well.  Again, he doesn’t sound perfect, but he sounds like he’s having fun.

I feel like this makes me want to see them a little less–except that it sounds like the performance is great even if his voice isn’t anymore.  Regardless, is he ever comes back to the States, I’ll be there for sure.

[READ: January 19, 2018] “The People Who Kept Everything”

I read this novel 7 years ago.  But since I’ve been going back through old Harper’s and found this excerpt I thought it would be worth reading (the excerpt) again.  And I really enjoyed it, I had forgotten about this scene until the end of the piece.

The narrator says that on the night before he left for college his father gave him a Spanish dueling knife and told him to keep it and never lose it.

When the narrator asks his father where he got it he says he’d better not say–he could tell him he won it in a card game in El Paso or a cathouse in Brownsville.

He kept the knife in a drawer and it moved with him to every location her went–dorm rooms, apartments.  Often it was in the kitchen with the cutlery, ignored by everyone except the new girlfriend who wanted to cook something. (more…)

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Will Eno–“Darkness at Seven” (Harper’s, June 2006)

Posted in Bill Plaskett, Canadian Music, Excerpt, Fears, Film & TV, Funny (ha ha), Harper's, Joel Plaskett, Live at Massey Hall, Newspapers, Play (Drama), Will Eno, Word usage on July 14, 2018| Leave a Comment »

SOUNDTRACK: BILL & JOEL PLASKETT-Live at Massey Hall (April 8, 2017).

I thought I had heard of the name Joel Plaskett before this, but I know I’d never heard of Bill Plaskett.

Sharing the spotlight with his earliest musical influence- his father, the JUNO Award-winning Canadian songwriter, Joel Plaskett performs a powerful collection of songs from both his own catalogue and from Solidarity, the musical collaboration between father and son, live at Massey Hall.

They talk about the prestige and history of Massey Hall as well as how it is a large venue but it still has intimacy.  There’s a big stage, but it projects–you feel like you can touch the audience.

“Dragonfly” opens with just him Joel on acoustic guitar.  After a few verses, the lights come on and the full band kicks in loudly and powerully–Benj Rowland (banjo, bass, accordion, guitar); Shannon Quinn (fiddle) and Josh Fewings (drums).

“Blank Cheque” starts lower and sounds a bit darker.  I love the lyrics: “oh honey, you can’t eat money–it’s gonna take more than luck just to save your neck.”

“Jim Jones” is sung by Bill.  It’s an olde ballad about prisoners and pirates and the goal in Australia.  Bill says it’s a British folk song from the time when convicts were transported to Australia for minor offenses like stealing rabbits from the Lord’s domain.  It’s a song of revenge.  Jim Jones was fictional but Jack Donoguhe had escaped from Botany Bay penal colony.

“Nowhere With You” is a song about all of Joel’s travels with big sing-alongs

“Heartless Heartless Heartless” is darker and quieter–there’s a wonderful moody feeling to the song.  Unlike “Rollin’ Rollin’ Rollin'” which is stompin and stompin.  People get up and start dancing and clapping.  Wow, there’s a lot of cowboy hats in the audience.  There’s a pretty fiddle that runs through this catchy sing-along song.

They talk about the magic in the collective energy of playing shows.  How the audience sends it back to you and you can feel it build over the course of a show.  It’s an awesome feeling.  Bill says it’s wonderful to play with his son in front of so many young people.

“Wishful Thinking” ends the show in a big rock n roll way.  “You can get on your feet again it feels good when you are.”  After some stomping around he starts improvising:

Don’t sing that song in A, sing it in B.
They shift to B and start singing and when they get to “it’s a long, long way to Winnipeg” the singers their notes forever–his dad longer than everyone else.  Joel: “That’s some circular breathing right there.”

The end is funny:

You’re hauling a lot of stuff, you’re taxing the vehicle.  Get rid of some guitars.
What are you talking about?  We need them for the show.
Well, figure something out.
So…

CDs for sale in the back of the hall
Buy one buy em all
Couple bucks cheaper than they are at the mall
Thanks very much we’ll be back in the fall.

It seems like he tries to end the song a few times, but they keep going and the guys from Elliott BROOD come out to sing a few ahhs at the end.

one more thing dude/
thank you Elliott Brood

[READ: February 6, 2018] “Darkness at Seven”

This is the opening scene from Eno’s play Tragedy: A Tragedy.

I really enjoyed this piece although I can’t imagine how it could be made any longer or in exactly what kind of direction it could go next.

Essentially this opening scene makes fun of all tragedy reporting and the generic platitudes that such coverage creates.   There’s Frank in the Studio, John in the Field, Constance at the Home, Michael the Legal Adviser and The Witness.

Frank sets the scene-a location in America, the once familiar sun has set.

John tells us that it’s the worst world in the world tonight.  People are looking, feeling, hoping and believing that they might learn something.

Frank wants to know if the sense of tragedy is palpable.  It is. (more…)

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David Means–“The Blade” (Harper’s, April 2009)

Posted in David Means, Homelessness, Knives, Murder, New Yorker, Phish, Short Story, Threats, Trains, Violence on July 13, 2018| Leave a Comment »

 SOUNDTRACK: PHISH Live Bait 14 (2018).

Phish has just released its 14th compilation of free downloads.  This one is a little over two hours with seven long songs.

Harry Hood (8/2/97 Gorge Amphitheatre – George, WA) 18:11
After a slow intro–it’s about two and a half minutes before the vocals come in–then there’s jazzy bass and funky keys.  The jam is pretty mellow, he even asks to have them kill the lights “so I can have the outdoor vibe here.”  A relaxed piano comes in around 12 and it’s not until 17 minutes that they sing the end of the song.

McGrupp And The Watchful Hosemasters (10/29/98 Greek Theatre – Los Angeles, CA) 11:45
This is a fun treat as they don;t play this song much anymore.  The piano opening is very quiet, but the middle is cool with a piano and splash cymbals.  The ending is twinkling piano that segues perfectly (despite being nearly a year later) into the next song.

Wolfman’s Brother (9/24/99 South Park Meadows – Austin, TX) 18:55
opens with a quiet piano but it quickly grows upbeat with a hot jam. Although the final section is dark for a bout a minute before it ends.

Gotta Jibboo > Saw It Again > Magilla (7/4/00 E Centre – Camden, NJ) 39:28
Gotta Jibboo brings back the lightness again. It’s got a happy solo with a pulsing high keyboard note that runs for almost ten minutes while Trey solos.  It turns funky/groovy around fifteen minutes in and then around 17 minutes in it shifts gears and grows slowly noisy and chaotic before sequing to Saw It Again.  Around 34 minutes, it slows down and segues into Magilla with really cool drums.

What’s The Use? (6/25/00 Alltel Pavilion at Walnut Creek – Raleigh, NC) 9:52
This is an instrumental that starts out sounding quite raw–the guitar is sharp with feedback moments.  After  couple of minutes the guitar fades and it gets quiet and pretty before the guitar returns and grows noisy again.

Runaway Jim (7/9/99 Merriweather Post Pavilion – Columbia, MD) 12:21
As always this song rocks.   Although the jam is pretty mellow and pleasant sounding.

Tweezer > Prince Caspian (8/22/15 Magnaball, Watkins Glen International – Watkins Glen, NY) 34:17
Most of the songs on this compilation are from the turn of the century, but this one is from just a couple years ago and it’s a big old “Tweezer” exploration.  This version sounds pretty loose–Trey even modifies the open chord riff somewhat.  Even the “Uncle Ebeneezer” noise is somewhat subdued.  It grows fairly calm before a funky guitar solo.  By 11 minutes, there’s a lot of piano added and then through 17 minutes “Prince Caspian” begins.  It’s a typically fun version of the song.  And by 31 minutes it feels like the song is circling back around to “Tweezer,” but it never actually gets there.  It just kind of ends.

Hard to complain about a free compilation, and there’s not much to complain about here.  Good selection of songs and great performances.

[READ: January 19, 2018] “The Blade”

This is story of tramps.  Hoboes.

There is a young kid who reminded Ronnie of himself from way back.  But it generally assumed the kid will be tossed off the train car before two long.

After some silence Vanboss and Stark begin talking.  Vanboss tells of a head on collision between two cars going 100 mph and how the cars were melded into a small cube but somehow a baby escaped unharmed.  No one believes that, so they talk of other deaths, brutal and extraordinary. (more…)

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