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Archive for the ‘Adventure’ Category

SOUNDTRACK: MIKE FORD-Canada Needs You (Volume 1) (2005).

Volume 2 of this series has just come out, but I haven’t received it yet, so I’ll start with Vol. 1

I discovered this series because I love Moxy Fruvous, and any member of the mighty Moxy is worth checking out solo.  Mike Ford has a wonderful voice, a great knack for songwriting and an ability to do multiple genres in one setting.  Couple that with the history of Canada and it’s win-win!  Volume One covers Canada pre-1905, with Volume Two covering up to the present.

I admit to not knowing very much about the song topics on the disc, which is fine, as I learned something new.  And, much like with the two Ferguson books, Mike Ford clearly loves Canada, and is willing to celebrate it without hiding any flaws that might be found.  Which is as it should be for an album or book of this nature: Don’t hide the warts; celebrate the whole picture.

Musically, the disc is as varied as the subject matter.  “I’m Gonna Roam” is a folk song done in a rap style. “Turn Them Oot” is a sea shantyesque sing-along about the Family Compact (and what a great rabble-rouser it is).  The most rocking song, “Sir John A (You’re OK)” is sort of a mock metal song (it’s as metal as a folkie can get…with a chorus from a Grade 7 class).  Imagine rocking the line “RESIDUAL POWERS!”

There’s even a song that sounds as if it was recorded on an old wax cylinder (“Canada Needs You”).  I like this song especially because it is a satire of early 20th century Canadian government attempts to get people to move to Canada (much like the Go West Young Man of the US).  A little snippet of lyrics:

There’s an abundance of everything in Western Canada
Where it’s never ever (hardly ever) cold
And the streets are paved with gold
And you grow rutabegas bigger than a loaf of bread
tomatoes bigger than a horse’s head
There’s milk and honey and a kitchen sink
There’s never any bugs or drought and the farts don’t stink

Some other topics include: a young Native woman who inspired her people (“Thanadelthur”); the voyageurs–with canoe sounds (“Les Voyageurs”); the fact and fiction of the treasure buried on Oak Island, Nova Scotia (“The Oak Island Mystery”); and the importance of Canadian women (“A Woman Works Twice as Hard”).

Perhaps the most fun song on the disc (for style and content) is “I’ve Been Everywhere” in which Ford lists thousands of Canadian towns at superfast speed.  Great good fun. Moncton, Moncton, Moncton, Moncton.

All the lyrics are available in PDF here.  And facts and background info about the songs are available here.  With all of these resources, you’re bound to learn something new about Canada!

[READ: September 2008] How to Be a Canadian

Now this is what I expecting from Why I Hate Canadians–a funny, tongue in cheek look at Canada and all of its quirks.  I got this book on the same trip as Why I Hate Canadians, and since I just read that one, I figured, why not keep it going.  So this book is co-written by Will and his brother Ian Ferguson (apparently there are Fergusons littered across the US and Canada, as their services are called upon throughout the book).  And, hard to tell if this is true, but based on the previous book, Ian must be the funny one in the family, as this book is very funny indeed. (more…)

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SOUNDTRACK: BE YOUR OWN PET-Get Awkward (2008).

Be Your Own Pet are a bunch of young kids from Nashville.  Get Awkward is their second album.  According to the liner notes, two of them were born in 1988 and one of them in 1990.  1990!  They play three-chord punk music which focuses primarily on having fun and partying.  I like to think that Black Flag’s “TV Party” might be an influence, but really they sound more like The Muffs than anyone else.   Jemima Pearl is one of those surprisingly cute punk singers who explode in a gruff gravelly voice (although never TOO rough or gravely) which makes all the proceedings quite fun.

The songs are short (only 2 songs are over 3 minutes), fast, and generally fun.  Song titles like “Food Fight,” “Zombie Graveyard Party!” “Bitches Leave” and “Bummer Time” should give you some sense of what the songs are about.  I’m led to believe their first album was a bit more aggressive (enough to get Thurston Moore to sign them to his Ecstatic Peace record label).  But this one keeps pretty well to the three chords (and occasional guitar riff) and fun shouting and singing.

It seems like every few years there’s a new young punk band who takes up the mantle of punk rock and BYOP were the most recent (although their web site says the just broke up).  And it’s cool for young kids to have a new young band to look up to.  Much like the theme of the book below, if you’re over 25 you ‘ll probably just think that this band is ripping off [insert your favorite brash young punk band here] but really who wants to listen to 40 year olds singing about parties and whatnot.  So, if you’re looking for a new young band, then, check them out.  There’s not too much new about them, but then, that’s not the point, is it.

And according to Wikipedia, three tracks were removed because they were deemed too violent (!).  Maybe the album is well suited to this book after all.

[READ: September 16, 2008] Little Brother

I have to get this out of the way:  READ THIS BOOK!  It is fantastic and it will motivate you like nothing I’ve read.  READ IT READ IT READ IT.

Okay, I feel a little better.

I read an interview with Cory Doctorow in American Libraries, the magazine of the American Library Association.  It was a short interview about this book, and he said such great things in a few paragraphs, that I immediately went to work and checked out the book.   And, wow, what a fantastic book.

This may be the kiss of death for any young reader, but Little Brother is an important book.  And everyone should read it.  And yes, I know it is fiction, but fiction can be a very powerful tool for waking people up to injustice.  Upton SInclair’s The Jungle was instrumental in the creation of the Meat Inspection Act and the Pure Food and Drug Act of 1906, which established the Food and Drug Administration.  Not bad for a work of fiction, eh? (more…)

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SOUNDTRACK: LOUDON WAINWRIGHT III-Strange Weirdos: Music from and Inspired by the Film Knocked Up (2008).

I can’t say I really noticed Loudon’s music during the movie.  Of course, when I read about it later, it turned out that the versions in the movie were instrumental.  Ahhh.  So, this “soundtrack” contains the instrumental tracks from the movie with words added (which is how they were originally recorded, so all is right once again).

This collection of songs is, to my ears, Loudon’s least funny collection.  Which is fine.  There are a few turns of phrase that raise a smile, but mostly the songs are thoughtful and thought-provoking.  They work very well with the theme of the movie: parenthood, children, relationships, love.  (Even though the movie is funny, these songs aren’t).

The collection is certainly one of Loudon’s strongest.   Many of Loudon’s musical partners in crime are here: Richard Thompson, Patrick Warren, Van Dyke Parks and, special guest Joe Henry (who I don’t know too much about, but who plays a lovely guitar).  The first three songs, “Grey in L.A.” “You Can’t Fail Me Now” and “Daughter” are possibly three of Loudon’s strongest songs in years (He didn’t write “Daughter” but he sings it wonderfully…and I think better than the original, which is a bit too jazzy for my tastes.)  The rest of the album continues in that vein: mellow folk music but with enough of an edge to keep it from sounding monotonous.  Loudon is releasing another new album this month, and I hope he keeps up this high quality!

[READ: August 14, 2008] Echo

When Strangers in Paradise ended, I was quite sad.  One of my favorite comics by one of my favorite artists was now out of my life.  And slowly, I forgot about Terry Moore, and moved on to other things (like the Buffy Season 8 comic).  Well, while I was at ALA this year, Michele Gorman, the wisest person in the graphic novelverse, asked me how I liked Terry’s new book.  Wha?? I said.  She said, it’s called Echo, and it’s fantastic.  And, so I got home, looked it up online and immediately subscribed and got the back issues.  1-4 came right away and #5 just arrived.  And I’m all caught up. (more…)

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SOUNDTRACK: ART BRUT-It’s a Bit Complicated (2007).

Art Brut is a really great punky band from England. Their first album contained two great singles: “Formed a Band” and “My Little Brother.” The premise of the band is that they play fast but melodic songs–they’re punk, but not thrash, and the songs are crisp. But the really unique aspect is the singer, Eddie Argos, who basically talks rather than sings, in his strong London accent. In fact, in “Formed a Band” he states: “And yes, this is my singing voice; It’s not irony; And it’s not rock and roll; I’m just talking; To the kids.”

This sets the stage for the rest of that album and this, the successor. Now, a band like this is stuck with two options: continue with this style of speaking/singing and possibly become a novelty or move on to a new style, thereby belying the lyrics from their manifesto. They chose option one. And the good news is that, while not making a better album that the first one–which is pretty fantastic–they come up with a slightly more mature album, which is still pretty great.

When your style of music is almost a gimmick, it’s not easy to get past that. The first two or three times you listen to the record, you are totally sucked in by Argos talking to you. Sometimes he’s yelling, sometimes he’s almost singing, and most of the time he’s being cockily self-deprecating (how you do that, I’m not sure). And you start to think of the band as little more than a spoken word record with backing music. Until you start to listen to the music. Then you gain a fuller appreciation for the band. The musicians are all top notch, playing rhythmic and catchy punk. Some songs have great chugga chugga riffs, others have really catchy guitar soloing type riffs, and all the time, the songs maintain a verse/chorus structure that keeps the songs from being simply rants set to music.

The album is fast and furious. The songs are funny without being twee, or tiring themselves out. The closest band I could compare them to is King Missile. Those of you who remember “Detachable Penis” from the 90s know King Missile. (more…)

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SOUNDTRACK: VAMPIRE WEEKEND-Vampire Weekend (2008).

There’s some hype surrounding this record. And of course, I wouldn’t have heard about it without the hype. But I have to say this is my favorite record in a long, long time. It has everything! It’s got really tight, fun catchy songs…some as short as 2 minutes. It has wonderfully pretentious lyrics, and outrageous instruments, like the mellotron and harpsichord. And yet somehow, it manages to avoid all manner of pretension. Rather, it’s just catchy as all get out.

I can’t even pick a favorite song, as they are all great in their own way. I’ve heard that this album is compared to Paul Simon and that it’s being described as AfroPop. I only see the Simon comparison on one song, and I’m not sure what AfroPop is exactly, so I can’t address that. But I will say that it reminds me of many different genres as the record speeds by. There’s even a retro ska feel to a couple of songs, and I do loves me some ska! No song overstays its welcome, and it all seems so effortless and joyful. I finally got to listen to it in the car on a warm night and it was absolutely perfect.

Yet despite all the simplicity and brevity, the album has a lot going on underneath it. The rhythms are fairly complex, the basslines are fantastic–not show offy, just busy–and yet they perfectly propel the songs along. And, since I love smart lyrics, I love these guys for their great couplets. The songs are smart, without being cute and even though they do boil down to basic love/lost love themes, the words within are original and wonderful.

I absolutely love this album.

[READ: April 10, 2008] The Lunatic at Large

This book is from 1899 and was reissued by McSweeney’s in 2007. I bought this book without knowing…anything about it. I’d certainly never heard of it before. I had put it aside with low expectations.

The introduction indicated that this book is a missing link between the humor of Oscar Wilde and P.G. Wodehouse. That was a promising idea, and I’m delighted to say that it is quite true.

(more…)

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SOUNDTRACK: TEENAGE FANCLUB-Bandwagonesque (1991).

In honor of this post about an author I went to college with (go class of ’91) I’m going to mention this album from ’91.  According to the movie, 1991 was the year that punk broke.  And, with all of the grungey/alternative bands that got onto major labels at the time, you;d think it was true.  Or, you can read it like it was the year that punk broke, meaning fell apart, which may not be far from the truth either.

But enough of that.  This album was the breakthrough for Teenage Fanclub who then went on to release several even better records that nobody bought. This record has a great hit call “The Concept.”  It had a great chorus, fabulous harmony vocals and a seering guitar solo.  And that actually sums up much of Teenage Fanclub.  They knew how to write some great songs.  Their later records all grew increasingly poppy, but they always maintained an alternative edge.  In fact, you really can’t go wrong with any Teenage Fanclub record.  This one always holds aplace in my heart though, as the one I first heard.  “What You Do to Me” will stay in your head for decades (as it has done in mine!)

In Spin magazine, readers voted Bandwagonesque album of the year, beating out Nirvana’s Nevermind.   I guess they never got the memo about that though, as DGC dropped them pretty much right after the record was released.  Oops.

[READ: March 2008] Fresh Kills

The opening sentence of this story was, for me, not auspicious. It starts with a gun and a naked woman. Uh oh, I thought, another “hard boiled crime story.” But after the setting and plot premise had been established, this story showed really impressive depth. (more…)

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SOUNDTRACK: JOSE GONZALEZ-In Our Nature (2007).

I first heard Jose Gonzalez, as pretty much everyone did, in the Sony commercial. The one where thousands of superballs are dropped down a San Francisco street to the accompaniment of Gonzalez’ “Heartbeats”. It was a beautiful piece of video. And the song was really perfectly suited. A mellow ballad, which happened to be a cover of a song by a band called The Knife.

The rest of the album was similar: soft, beautifully played acoustic songs, hushed vocals, just very pretty.

Gonzales’ follow up doesn’t mess with the formula too much. He adds another player or two, to include some harmonies, and he does another cover (Cocteau Twins’ “Teardrops”) but overall the feeling is much the same. The Cocteau Twins cover is interesting for me because I have mentioned another Cocteau Twins cover in a review (by the Deftones) and this is yet another take on what I always assumed was an uncoverable band. This version strips the song down to its bare essentials but keeps the gorgeous melody intact. It’s quite striking.

There’s nothing especially fancy about Gonzalez’ guitar playing…he’s not trying to wow anyone with his virtuosity, which is nice. However, he is a very accomplished classical guitarist. He uses the classical techniques in his pop songs, and he tends to play certain notes harder than others bringing a natural percussion to his otherwise mellow fingerpicking. So, while I say there’s nothing fancy about his playing, it is still quite beautiful. His voice hasn’t changed either, it still retains that peaceful, serene feeling.

It’s funny then to read the words to his songs many of which come across as protest songs. Not about anything in particular but about human nature, and the animals that we can often be. The record is a really string collection of songs. It’s also quite short, about 35 minutes, which also seems fitting somehow: get in, say what you want, and get out.

Of the two records, I prefer the first one, possibly because I know it better, but I think it’s because in the follow up, the extra players detract somewhat from Gonzalez’ singular nature. Not that they do great harm, and surely he needs to evolve his sound, but I feel like with the addition of others, something is lost. Despite that, this one easily gets a 4.5 out of 5 where as Veneer got a 5 out of 5.

[READ: March 2008]: McSweeney’s #26

This was a great “issue.” I enjoyed all three parts of it. (more…)

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sonmob.jpgSOUNDTRACK: GORDON LIGHTFOOT-The Complete Greatest Hits (2002).

gordon.jpgIn keeping with the Gordon theme of this post, I’m going to mention Gordon Lightfoot. He is an iconic Canadian folk singer that I was sure I must have heard in the past. He seemed to be mentioned a lot recently, so I decided to get a hits collection and see what’s up. I was somewhat surprised to see that I knew only one song by him (“The Wreck of the Edmund Fitzgerald”) and one other one “For Lovin’ Me” because it was covered by Peter, Paul and Mary.

So, after a few listens, I find that Lightfoot’s melodies are really strong, and I found myself singing along to most of the catchy choruses. It’s interesting to see his career evolve over the years: from the 2 minute folkie to some longer, more complex songs, to the 70s AM radio songwriter, to the very unfortunate 80s period, and finally back to basics in the 90s.

I know I won’t need any other records by him, but he’s a great addition to my folk collection. This album seems to cover a track or two from most of his records (although he was quite prolific). I prefer the earliest, most spare folk tracks, especially the “Canadian Railroad Trilogy,” but some of his later songs, while more produced, are even catchier: “Summer Side of Life” “Sundown.” And, even though some of these later songs are a little cheesey (in a 70s AM radio way), they’re still pretty good: “Cotton Jenny” and “Daylight Katy.” But still, the highlight is “The Wreck of the Edmund Fitzgerald,” what a great great song. And what a great great mustache too!

[DIGRESSION]: There’s a song on Moxy Fruvous’ b record called “Gord’s Gold” which I never understood. It was only after investigating Gordon Lightfoot that i realized he has two greatest hits records called “Gord’s Gold.” The Moxy song must be some kind of light footed parody of Mr Gordon. Also, Barenaked Ladies’ first record is called Gordon, and in the back of the liner notes they list all kinds of famous people named Gordon.

We figure that Gordon must be the quintessential Canadian name. I was surprised to find out that Gordon Korman is from New York.

[READ: March 2008] Son of the Mob

This is the YA book that Sarah has talked to me about the most. When we were first dating she used this book in her booktalks to the local teens in school. A booktalk is a compelling introduction to a book, designed to whet your appetite for more. Her booktalk for this title stuck with me, even if I didn’t remember the whole thing. But I knew I’d be checking this one out. (more…)

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terry.jpgSOUNDTRACK: COHEED & CAMBRIA-Good Apollo I’m Burning Star IV, Vol. 1: From Fear Through the Eyes of Madness (2005).

coheed.jpgFor reasons I’m unclear about, I had the completely wrong perception of what this band would be like. I had read a few things and heard from a few people some differing stories. I decided to check them out based on this input, and I decided, against my anal retentivity, to get Part IV of their five part collection. (This is because it was really cheap on Amazon).

So, given this, I don’t know what C&C sounds like on the first records, and maybe they sounded more like what I assumed they would sound like. And, frankly, given the images that the album comes with, coheed2.jpg one would tend to think that deep dark heavy metal is contained within. In fact, I was pretty sure that I was in for a heavier sort of Dream Theater. The imagery of this collection is very dark/scary/spooky, and I was told many times that the band was quite prog-rockish, often sounding like Rush. Oh, and the singer sounds like a woman.

Imagine my surprise then to play the CD and (ignoring the opening string intro which doesn’t signify anything anymore) hear a whole bunch of relatively short, really pretty, uncomplicated songs. There are a number of tracks on this that could be huge hits. As I listened some more, I realized what I thought the band sounded like…they sounded like Queensryche. In fact, they sound like any number of 80s metal bands. It was really weird and unsettling to have my expectations totally blown.

The first 11 songs are, for the most part, short, uncomplicated songs. They have beautiful melodies, and yet often have very disturbingly violent lyrics. (In what practically sounds like a lullaby–“I’ll do anything for you; kill anyone for you.”) There’s an awful lot of killing and threatening and the like going on here. And, yes, the singer can sound like a woman. Evidently this killing and violence is rampant through the sequence of discs, and there is some kind of “story” that explains it. But I didn’t really read closely enough to decipher it.

It’s not until track 12 the indicatively titled: “Willing Well I: Fuel for the Feeding End” that the prog stuff kicks in. Now we have some seven minute songs, we have some complex riffing going on and an occasional time change. There’s also call backs to earlier sections of the album. This was certainly more of what I was expecting, although, indeed, it’s still not THAT heavy. Some of the tracks so resemble Rush’s proggy heyday. Most unusual for me was that the long meandering guitar solo on the very last song “The Willing Well IV: The Final Cut” sounded like it could have fit perfectly as the long, meandering guitar solo in Pink Floyd’s “Shine on You Crazy Diamond.” Go ahead, listen for it, I’ll give you fifteen minutes.

The first time I listened to this disc, I really didn’t like it because it wasn’t anything like what I expected. On my second and third listens I started to enjoy it a lot more. I started to really groove to the songs. I also subsequently read a description of the album on allmusic to see if I was crazy, and indeed, I was not. They say that the band is very emo in an 80’s metal sort of way. And, I totally agree. They mentioned Queensryche as well (although they say Operation Mindcrime and I say Rage for Order) and as soon as I saw the “emo” tag, I thought about My Chemical Romance as a recent soundalike band.

As for the content of the epic, I have no idea what’s going on. I haven’t been able to read the lyric sheet yet (as I listen in the car) and I know I am coming way in the middle of this whole thing, so I know that I’m missing boatloads of information. Nevertheless, I enjoyed it enough to seek out some other parts just to see what the whole thing is about.

It’s nice when an unexpected surprise turns pleasant.

[DIGRESSION: BACKSTORY:] When I was 12 my sainted Aunt Lil and I used to travel from our little ‘burb of Hawthorne, all the way to the Willowbrook mall in Wayne by bus. A transfer in Paterson was required, and retrospectively, I am amazed that this little old lady traveled all that way, and made an exchange in a fairly “bad” neighborhood all the time. Once in a while I would go with her and we’d make a day of it. My “reward” for going was that I’d get a record or two. (more…)

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quest.gifSOUNDTRACK: SUPER FURRY ANIMALS-Hey Venus! (2007).

sfa.jpgI’ve been a fan of Super Furry Animals for years. Their early stuff is really wacky and psychedelic Britpop (even if they are from Wales). They sang songs about hamsters and they drove around on tanks, and their B-Sides collection was package like a big rubber, well, rubber, with a reservoir tip and all!. And yet even with Gruff Rhys’ peculiar accent, the songs were catchy as all get out, and they rocked pretty hard.

Their infamy grew when they released a song at Christmas called “The Man Don’t Give a Fuck” which sampled the Steely Dan line from “Showbiz Kids” “you know they don’t give a fuck about anybody else” about 100 times as a never-ending chorus of their song. They gave Steely Dan pretty much full writing credit, so that’s not where the controversy came from. It was that the song had the word “fuck” in it like 150 times. And it went to #1. During Christmas.

Ha!

Anyhow, many albums later, the Furries had started to mellow somewhat. They had a minor disco-tinged hit with “Juxtapose with U” a few years ago. And then their 2003 album Phantom Power was a very mellow, almost folksy album (still weird and psychedelic, just folk-sounding). So, one assumed that they were following in the tradition of fellow Welshies Gorky’s Zygotic Mynci and just beginning to mellow with age. But no! Hey Venus! is their most rocking album in ages. It’s a short 30 minute blast of fun and catchiness, with just enough weirdness to make people stick up their nose and say “what are you listening to?” a few minutes before they start humming along.

It starts with the great “The Gateway Song.” Lyrics: “This is a gateway song;” 43 seconds of intro into the heavenly poppiness that is “Run-Away.” SFA still know how to write catchy fast upbeat rockers! But you know that SFA have not gone completely straight laced when they have a song called “Baby Ate My Eightball” and the great, weird “Suckers!” Oh, and just check out the cover art!

I’m sure this is not for everyone, but it’s certainly worth checking it out to see if you can expand your mind a bit!

[READ: January 20, 2008] The World of Quest.

This is a cute fantasy comic intended for all ages. I’d never heard of it before Sarah got a free copy from the publisher. (more…)

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