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Michele Fazekas & Tara Butters and Kris Anka & Felipe Smith–Captain Marvel: Rise of Alpha Flight (2016)

Posted in Aliens, Billy Corgan, Captain Marvel, David Lopez, Felipe Smith, Graphic Novel, Huh?, Kelly Sue DeConnick, Kris Anka, Michele Fazekis, Outer Space, Superheroes, Supernatural, Tara Butters, Technology, Tiny Desk Concert, Unfinished series, Violence, William Patrick Corgan on November 22, 2017| Leave a Comment »

SOUNDTRACK: BILLY CORGAN-Tiny Desk Concert #674 (November 20, 2017).

Back in the day, I thought Smashing Pumpkins were pretty awesome.  I even enjoyed the bloated Mellon Collie.  Billy Corgan is a terrific songwriter with a flair for the drama.

Then I got really turned off by him.  Whether his ego exploded or if it just really became public (and the fact that he always wore a shirt that said zero), I;d had enough of him.  I didn’t even listen to any of the Pumpkins’ later albums (band fighting didn’t help that).

recently, NPR played the new song by William Patrick Corgan, a sweet piano ballad.  And I realized that I really don’t like Corgan’s voice  And the more I thought about it the more I didn’t like his voice in the old songs either–but the intensity if the music and his delivery overshadowed the parts that annoyed me (which is more noticeable when the songs are slow and mellow).

So what had Corgan been up to

Billy Corgan is a complicated guy. In the years since that iconic and much-beloved rock band broke up in 2000, Corgan has continued to put out music under various names and projects – including several releases as Smashing Pumpkins, with different lineups – while often stumbling through a bumpy minefield of his own making. To the head-scratching surprise of some longtime fans, he’s gotten heavily involved in pro wrestling, talked conspiracy theories during several appearances on The Alex Jones Show (warning of weaponized zombies in one interview), and, over the years, lobbed innumerable grievances about former bandmates, while trashing other musicians and publicly feuding with a revolving cast of celebrities and public figures.

More recently, Corgan seems to have mellowed. He opted to release his new solo album Ogilala, under his (very grownup-sounding) full name, William Patrick Corgan (though he very recently changed it back to Billy Corgan on streaming services and YouTube), and filled the record with beautifully rendered acoustic songs built on piano and strings.

Corgan plays three songs in the Tiny Desk Concert.  Impressively, he plays “with a string quartet he’d just met hours before”: Kristin Bakkegard (violin), Livy Amoruso (violin), Paul Bagley (viola), Carol Anne Bosco (cello).

He opened with a stirring rendition of the 1995 Smashing Pumpkins song “Tonight, Tonight.”  It sounds great with the simple acoustic guitar (it’s really a lovely melody) and the strings.  I did realize that I don;t really love his vocal delivery, but I’m so caught up on the strings that it’s hard to care.

It’s also odd that he kept on the heavy scarf, hoodie, down jacket and cap, but it didn’t seem to hinder him ob guitar or the final two songs which he played on piano: “Aeornaut” and “Mandarynne.”  I don’t understand the titles or what they have to do with the words I can pick out, but the melodies are again, lovely.  The blurb say they are about “staying strong and true to yourself and soldiering on in the face of a troubled world.”

He doesn’t say anything, and he seems pretty businesslike, but he acts graciously at the end.  And it’s nice to read that

Corgan was nothing but a good-natured delight. After years of selling millions of records and playing packed arenas, he showed up in a cab with just his tour manager and, during setup and rehearsals, joked about being all DIY now.

I haven’t listened to Smashing Pumpkins in a long time.  Maybe its’ time to bust out Gish again and enjoy Billy when he had long hair.

 

[READ: April 30, 3017] Captain Marvel: Rise of Alpha Flight

After two lighthearted series with Captain Marvel, new writers have come along and changed the tone of her story line quite a bit.  Indeed, everything is different from the DeConnick stories, right down to the incredibly different appearance of Carol Danvers on the cover and even the logo of Captain Marvel herself.  The art in these books is by Kris Anka and Felipe Smith)

When I looked this book up to see where it fit in to the series (it’s very confusing when there seems to be a recurring Volume 1 (this covers issues 1-5)), I read that a lot of people didn’t really like this story line.  So I wasn’t expecting to like it either.

But I found that I really enjoyed it a lot.  It’s very different from the whimsical stories from DeConnick (this arc was written by Tara Butters and Michele Fazekis) and in fact, since it is all set in space, I felt that it took on a kind of Star Trek quality which I enjoyed quite a lot. (more…)

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Greg Smith, Michael Tanner, Zach Lehner–Junior Braves of the Apocalypse: Book 1: A Brave is Brave

Posted in Adventure, Death, End of the World, Funny (ha ha), Graphic Novel, Greed, Greg Smith, Guns, Michael Tanner, Now, Now, Oni Press, Set at School, Supernatural, Tiny Desk Concert, Unfinished series, Violence, Yuck!, Zach Lerner, Zombies on November 21, 2017| Leave a Comment »

SOUNDTRACK: NOW, NOW-Tiny Desk Concert #672 (November 15, 2017).

I really enjoyed the Now, Now album Threads.  It had a synthpop feel but with some cool slightly darker elements that kept the listener guessing.  The blurb describes it like this: “Its songs carried in them a weary recognition of how desire and nostalgia linger in the body and mind.”

I had no idea that it was released five years ago.

So I was pleased to see them on the Tiny Desk Concert.

But in the intervening years, their sound has become more poppy with (at least in this recording) many of the darker elements smoothed over somewhat.

Now, Now took the Tiny Desk stage with a minimal setup (dig the sampler as drum kit) that laid the vocals bare, but still lent the songs a room-filling pulse. Among those songs were “SGL” and “Yours,” the two singles that heralded the band’s return this summer (a full five years after Threads, with a pared-down lineup and no album yet announced, though the rumors say next year).

I hadn’t heard those singles.  But they are poppy and KC Dalager’s voice has become much more breathy.  Bradley Hale’s synths are very bouncy and sort of 1970s-sci-fi documentary sounding.

Jeffrey Sundquist and Daniel O’Brien join them, but I’m not sure who does what.  The guitar is quiet and echoed, adding textures to the songs.

Before the final song, they thanks NPR for their support and then KC says, “This [Tiny Desk] is the one thing we’re doing that my mom was really excited about.”  The final song, “Separate Rooms” is from Threads.  It retains some of the feelings of the original, but the synths still have the newer bounciness which is a little disconcerting.  The original also has a lot more guitar in it.  I almost don’t recognize the song.

It’s hard to know how different these songs would sound with a big drum sound (it’s funny to see the drummer standing there with his hand behind his back the whole time).  But I definitely don’t enjoy them as much as the original.

[READ: May 2, 2017] Junior Braves of the Apocalypse: Book 1

I saw this book at the library and I was intrigued by the title.  And, seeing it was from Oni Presss, I knew it would be a good read.   And, boy was it ever.

Without trying to reduce the story too much, call it a male version of Lumberjanes but with a whole end-of-the-world, zombie vibe thrown on top.

The book begins on Day 1 as we see a gruff and, frankly, angry-looking dude waiting for someone.  Turns out he is Padre Ron,the adult leader of the Junior Braves.  And over the next few panels we meet the braves.  There’s Travis (a bossy, jerky kid) and his (dorky)brother Marvin.  There’s Lucas, who is mad that they don’t say prayers. There’s Johnny who is Native American living with a foster family.  He is sullen and quiet.  And then there’s Raj (whose mom is overly cautious and thus, so is he) and Amir, a rough kid who knows Krav Maga.   And then there’s Dylan.  Their other adult leader is a recent graduate named Buddy.

Padre Ron is, as I said, kind of jerk, telling the parents that their boys will go out as children and come back an men and blah blah blah.  Exactly the thing that would make me hate the Scouts if we did that now.

Then Padre lets Buddy know they are not going to the promised camp.  The are going to a very secluded spot that proves to be very cool indeed.  Everyone has a pretty good time (except maybe Johnny) for 7 days.  But as they head back home, something… everything is wrong. (more…)

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Shannon Hale and LeUyen Pham–Real Friends (2017)

Posted in #10yearsof01, Autobiographies, Black Sabbath, Canadian Music, Child Development, Culture Shock, Daniel Johnston, Fears, Feminism, First Second :01, Frankie Yankovic, Friendship, Graphic Novel, Humiliation, Jealousy, Jen Foster, Johnny Cash, Kevin Hearn, Kindness, LeUyen Pham, Lou Reed, Neil Young, Ramones, Regrets, Rheostatics, Ron Koop, Shannon Hale, Stompin' Tom Connors, Threats, YA Books, Yuck!, tagged on November 18, 2017| Leave a Comment »

SOUNDTRACK: RHEOSTATICS-Fall Nationals, Night 8 of 10, The Horseshoe Tavern, Toronto (November 18, 2004).

The Rheostatics, live at the Legendary Horseshoe Tavern in Toronto, November 18, 2004. This was the 8th night of their 10 night Fall Nationals run at the Horseshoe.  Featuring a crazy 17 minute medley followed by Neil Young’s Powderfinger.

Kevin Hearn played keyboards for much of the show and they played a number of songs from the Group of 7 disc and Harmelodia.  The show ran for 2 and a half hours.  There’s only one recording of this show, and it sounds great.

The show opens some what mellow-ish with “Digital Beach.”  It’s a pretty version of this unexpected song and it’s followed by an awesome “Boxcar Song” with Kevin Hearn on keys.

“P.I.N.” sounds lovely.  Midway through, you can hear bongos playing and Martin sings “I’m in the snow / playing bongos.”  He’s quite growly through the song.  After the song, you hear people shouting: “Come on let Martin sing!” Dave: “I think he is for hire, sir.”  Mike: “But only as a mohel.”

Kevin Hearn is on the organ for “It’s Easy To Be With You” and he sings on “Yellow Days Under A Lemon Sun.”  Actually everyone seems to take a verse on this song (but I think they’re making them up as they go along).  At the end, Tim says, “We started off with no keyboard players and now we have two.”

Mike asks if he can get more of Kevin’s sampler?  Dave: “Careful what you wish for–he’s got some Buddy Hackett in there.”

It’s followed by three more from Harmelodia: a sweet “Loving Arms,” a fun “Home Again” and a romping “I Am Drumstein.”  Tim says he is disappointed because he missed a perfect bongo opportunity in that last song.

After an introduction of Chris Stringer on “the organ and effects and other stuff,” they move toward 2067 with “Marginalized.”  There’s a sweeping, trippy keyboard solo in the middle.  And then some guys start shouting “Whale Music” and other things.  Dave says “Loud guy crowd.  Every Fall Nationals there’s a loud guy crowd.”

Introducing “The Tarleks” Dave says, “Dr. Johnny fever was here last night in the flesh, it was rather exciting.”  (Did they really not mention Howard Hessman the night before?).

Over the entire run there’s been constant requests for monitor sound level changes, especially by Mike.  Mike says he could use less of Martin’s vocal (groans from the audience) and says he can’t hear Martin’s guitar.  Martin asks if his guitar sounds okay out front.  There is much applause.  Mike: “you’re just fishing for a compliment.”

Before “Pornography,” someone asks where the bongos are.  They are put to good use in the song.  After saying how proud they are of the new album the  opening of  “Shack In The Cornfields” sounds a little off.  But it is quickly righted and off they go.  The song ends with what sounds like a skipping record and very quiet percussion playing as the s song slowly segues into “Try To Praise This Mutilated World.”  Martin says, “I like that song.  Dave wrote it.  We’re the Rheosatics.  Are you having a good night?”  Someone shouts something and Martin snarks: “You wanna hear our older, funnier stuff?”

They go old, but stay mellow.  Tim is “gonna serenade you with a song.”  “All the Same Eyes” is one “we don’t do anymore.  And now one we just started doing, ‘Here Comes the Image.'”  Tim introduces it by saying “This is a lesson for all you drummers out there.  Never be late for a rehearsal or you will be banish-ed to the keyboard.  Because everyone else wants to play those drums, including me and Dave.  This next song takes place in 2067, so best of luck to you all.”  It’s followed by another mellow song “Who Is Than Man, And Why Is He Laughing?” with Jen Foster on accordion.  After the song, Dave says, “I don’t know if I was dying back there or if someone is cooking but I smelled pancakes.  Kevin, you got a griddle back there?”  Mike also says, “Shameless plug.  Jennifer has her CD for sale at the merch booth.”  Tim: “It’s called Shameless Plug.”

Dave notes that they are “just entering the ‘shang’ part of the evening, folks.”  Whatever that means, the first song is a rollicking “Stolen Car.”  It feels a bit shambolic, but never out of control.  There’s some cool keyboard sound effects during the middle jam.  There’s a pretty “Little Bird, Little Bird”and then a powerful “California Dreamline.”  It segues somewhat oddly into a grooving “Horses” (the only time they’ll play the song during the nine nights).   Kevin gets a wild keyboard solo in the middle of the song.

Dave says there are here the next two nights and the Loud Guy says “we’re coming tomorrow.”  Dave: “Thanks for the warning.”  Dave seems a bit tired of the bozos.  But he does seem to like the fans up front: “You guys have great looking twin shirts there.  I can’t read what’s on the second bus though.  Nowhere and Boredom.”   Mike says he’d choose Nowhere over Boredom, but Dave’s not so sure.  “Boredom gives you something to work with.”

Tim says, “Bear with us while we do this song for our friend Ron Koop.  He is having a hard time right now and hopefully he draws something from this.”  It’s a lovely version of “Making Progress” which is followed by an upbeat and rather silly “Monkeybird.”

And then comes the above mentioned 17 minute medley.  I’m glad Darrin wrote all the songs down, because it’s hard to keep track:

The Horseshoe Medley (The Pooby Song / The Hockey Song / Devil Town / The Ballad Of Wendel Clark Part II / Bees / Folsom Prison Blues / Ring Of Fire / Old Vancouver Town / War Pigs / Human Highway / Rockaway Beach / Walk On The Wild Side / So Long Farewell / Who Stole The Kishka / Let’s Go Skiing In The Morning).

It begins with Dave playing the acoustic guitar and singing “The Pooby Song.”  “Take one, Kevin” and Kevin gets a simplistic guitar solo.  Dave shouts “take it to C” and they start Stompin’ Tom’s “Hockey Song.”  After the “second period” Dave notes: “last game of the lock out season that didn’t exist.  Doesn’t matter, we got enough hockey stored up in our heads that we’re skating all the time anyway.”  The songs ends, but that isn’t the key from the first tune, we gotta go back to the first tune.  Tim: “Take it to B flat.  I love B flat.  Now, back to D.  You got any chords you like?”  Kevin starts singing Daniel Johnston’s “Devil Town.”  Up to E sharp (or F, whatever you want to call it).  Back down to D take it to C.  They start “Wendel.”  Kevin’s got one.  “‘There are bees, there are bees, everywhere’  you know this one, right?”  Tim: “Does this take place in the devilish town?”  Take it to C, for Dave to sing Johnny Cash’s “Folsom Prison Blues” then Kevin switches it to “Ring of Fire.”  Tim picks up with Stompin’ Tom’s “Bridge Came Tumbling Down.”  Kevin resumes with a hilariously upbeat and folksy “War Pigs” with Martin doing some suitably metal guitars sounds.  They even try to do the heavy staccato part before resuming the bluesy part.  “Go to G.”  Dave sings Neil Young’s “Human Highway” but messes it all up, “Okay, never mind go back to E again.”  Tim: “Take it up to A” for “Rockaway Beach.”  Then it’s Kevin with an amusingly upbeat take on “Walk on the Wild Side.”  Mike jumps in with a goofy stab at “So Long, Farewell” and then Dave takes over with “Who Stole the Kishka.”  Tim is yelling “someone call the motherfucking cops.”  The medley should end there but someone keeps it going “a two-step nightmare.”  Dave sings Frankie Yankovic’s “Let’s Go Skiing” while about three other songs go simultaneous.  Someone chants “four more years” and then Dave starts “Powderfinger” in the medley.  He kind of screws it up and as it fades, Martin asks, “What’s the next verse?”  “Something about hunting” and then Martin takes it over for real. He knows some of the words, and they kind of salvage it.”

At the end Dave even says “Thanks, I think.”

But after 8 days in a row, you’re allowed a bit of a fun meltdown.

As they walk off, Martin asks, “Hey Dave what’s a kishka? A sausage type thing?”  A fans shouts, “a small donut.”  Dave: “It’s not a small donut.  But that’s funnier.”  It’s a great and funny end to a wild show.

[READ: July 11, 2017] Real Friends

I’ve enjoyed Shannon Hale a lot recently, so I was pretty happy to read a new book by her.  Sarah had told me that it was a really excellent portrayal of girl friendship in grammar school.  It is also biographical and makes me think that it’s pretty amazing that Hale made it through to high school at all.

The book is divided into sections with friends’ names, and each of these sections is basically how she met these friends.

Shannon was the middle child between a pair of older girls and a pair of younger siblings.  She was kind of alone and was very clingy to her mom.  But on her first day of kindergarten, despite being nervous and sad, she made friends with Adrienne.

They were soon inseparable.  Shannon made up games for them in which they fought off bad guys (boys who just seemed to want them in whatever capacity a five year-old girls thinks boys might want them).  I love that their game was utterly feminist and yet they were portraying Dallas Cowboy Cheerleaders because that’s who was popular and everyone wanted to be one.  And yet these cheerleaders had pet saber toothed tigers and sharks and they beat up ghastly boys. (more…)

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Scott Westerfeld & Alex Puvilland–Spill Zone (2017)

Posted in #10yearsof01, Adventure, Alex Puvilland, Aliens, Alternate Reality, Amer Diab, Babysitters, Beer, Beverly Kreller, Canadian Music, Chris Brown, David Celia, Death, Demons, Dennis Ellsworth, Donna Orchard, Drinking, Environmentalism, First Second :01, Ford Pier, Friendship, Funny (ha ha), Funny (strange), Graphic Novel, Greg Smith Sounds, Howard Druckman, Huh?, Janet Morassutti, Jen Foster, John Crossingham, Justin Rutledge, Kate Fenner, Kurt Swinghammer, Matthew Cowley, Melissa McClelland, Michelle Rumball, Midi-Ogres, Mike Bell, Nightmares, Paul Linklater, Radio, Reid Jamieson, Rheostatics, Robin Lowe, Royal Wood, Sci-fi, Scott Westerfeld, Selina Martin, Simon Head, Simon Wilcox, Steve Stanley, Supernatural, Surreal, Technology, The Future, The Weakerthans, Threats, Willy Wonka and the Chocolate Factory, WKRP in Cincinnati, Yawd Sylvester, Yuck!, tagged on November 17, 2017| Leave a Comment »

SOUNDTRACK: RHEOSTATICS-Fall Nationals, Night 7 of 10, The Horseshoe Tavern, Toronto (November 17, 2004).

The Rheostatics, live at the Legendary Horseshoe Tavern in Toronto, November 14, 2004. This was the 7th night of their 10 night Fall Nationals run at the Horseshoe.

I compared all of the setlists from the nine shows and was somewhat surprised to see just how much repeating they did. Most of the rep

 Two versions are available – Mark Sloggett’s soundboard recording and 8 track files provided by Steve Clarkson.  The Sloggett download has 8 minutes of pre show intro music, which I assume is on the PA.  It starts out kind of synthy and cool then turns into piano music then a big horn-filled jazzy song then back to piano as mike starts playing some drums and that’s the official start of “Who Is This Man, And Why Is He Laughing?” even with the PA music still playing.   Despite this being guest vocalist night, this song is instrumental with accordion and clearly spoken Polish.

Martin says they’re not supposed to sing tonight so they’ll do an instrumental version of “Four Little songs.”  No one sings their verse, but Chris String on keyboards plays a lengthy sample: you gave this to, me but you cannot escape, not this time.”  They play the song really well without the vocals and for the end someone is ringing bells in tune.

Dave welcomes everyone to the 4th annual Fall Nationals and introduces their first guest vocalist Robin Lowe from Pittsburgh, PA.  She sounds great singing “Introducing Happiness.”  She’s followed by Melissa McClelland who asks, “Can I do something on this?” and someone jokes, “no don’t touch the keyboard.”  “Can I do some beat boxing on the mic?”  “Absolutely.”  She doesn’t beatbox but she sings a beautiful version of “Aliens (Christmas 1988).”  It’s a bit of a different vocal melody than martin sings and is quite wonderful.

Mike Bell comes out to sing “Beerbash” guessing that they haven’t done this in a while.  It’s rocking and fun/sloppy.   Then Paul Linklater and Donna Orchard
come out to sing “King Of The Past.”  Dave notes that “you guys sang separately last year.”  Which they did.  They do a kind of dramatic singing of the song which I think I like, but not as much as the original.

Dave says, “The beer is here and so is my adorable wife.”  Janet Morassutti who has co-written many songs sings “It’s Easy To Be With You.”  She has a good, deep voice and I love when she gets into the 1,2,3,4.

Kurt Swinghammer comes out and introduces the Trands-Canada Soul Patrol back in the house.  But Dave says they’re supposed to be backing Brenda Lee.  Kurt continues, “It’s time for a Tim Vesely song.  He’s sort of the George Harrison in the band.”  This brings forth three jokes at once including Dave saying he;s more of the George Foreman of the band.   They do “Loving Arms” and Dave says, “you’re lucky we did this last night.”  He sings in a deep and ponderous voice not sure it’s quiet right for this sweet song, but he does a great job with it.  The song ends but the give Kurt an extra solo.

Michelle Rumball comes out and says, “Dave do you know that the last time that I was supposed to sing this song, I showed up and only knew the backing vocals.”  Dave says, “I’ve never forgiven you for that.”  “It was like ten years ago.”  Then Dave notes “No one ever sings “Saskatchewan Part 2”  Michelle says, “next year?”  It’s slow and moody and she kind of messes up a bit but holds it together.  Chris Brown gets a keyboard solo.

Greg Smith of the Weakerthans recently.  He’s going to sing “The Tarleks” and they start asking him “what are you doing now that KRP shut down?”  He says he gets a lot of questions about Bailey Quarters–everybody liked her more than Loni Anderson.   There’s lots of wild synth stuff in the middle.

Chris Brown comes out for “Bad Time To Be Poor” and there’s some seriously off guitar to start the song, but they settle down and play along nicely.

Then they need to take a five-minute break to work on equipment.  Martins Steinberger guitar died.  It led a rich life and needs to go to the hospital.  Sorry about that.

Royal Wood sings a pretty version of “It” and then Steve Stanley puts the power back in “Power Ballad For Ozzy Osbourne” including the intro.  They say that he is currently in a band called Midi-Ogres.  At the end of the song, there’s sustaining feedback note–“make it stop make the bad man stop, stop the fucking note, Mike.”  While they’re fixing that, Chris plays a sample:, “I’ve been practicing every day for a year.  I can’t even learn a piece in a week.  When will I learn to play real good?  How long does it take?”

Jen Foster sings “Take Me In Your Hand” (no accordion) and they do the penny whistle ending.  Justin Rutledge comes up for “Marginalized.”  Dave notes that he played with the last night and slayed the house. There’s some raw guitar sounds, but not as interesting as Martin’s.

Amer Diab comes up to play “Lying’s Wrong.”  Mike says, “Shit, I don’t think I’ve ever played this one.”  Dave: “me either.  How does it start?”  “Thanks for pulling that out of the closet.”

Howard Druckman and Beverly Kreller come out to sing “Chansons Les Ruelles.”  Bev plays the bodhran, which is evidently too loud in the monitors, which makes Dave says, “You’re the John Bonham if bodhran players, aren’t you, Bev?”  Mike: “John Bodhran.”   Howard says, “I remember the People’s Republic of Dave.”  Dave says, “You know Broken Social Scene stole everything from PROD.”

Kate Fenner sings “Northern Wish.”  her raspy voice is nice with this although she misses the “built my rocket” section.  Reid Jameson sings “In This Town” and dedicates it to all the Pisces in the room.  “Posses of Pisces.”  Martin says that he hasn’t listen to it since they recorded it.  They typically play a different version.

Dennis Ellsworth sings “Palomar” but the teleprompter seems to give out for a few seconds.

Simon Wilcox sings “Dead is the Drunkest You Can Get.”  But it causes nothing but trouble.  “Anyone remember how to play my song?”  Tim: “I thought this song only ever appeared on a t-shirt.”  She has a sultry, almost sexy delivery.

Matthew Cowley sings “My First Rock Show” although ta the end he says “He was there, I’ve never seen any of those bands.”  During the Joe Jackson saved my life part, Dave chimes in: “hes always doing that.”

Chris plays the “we are the music makers” sample from Willy Wonka.

Simon Head sings “Shaved Head.”  He says “It’s fun to be part of Rheostatioke.”  Martin says, we were thinking rheo-oke.  It sounds good.  The heavy part is really heavy.  At the end everyone comments: “Nice Vegas walk off, Simon.”  Martin: “next time we do that I’m going to do a walk off like that.  The walk off is underrated.”

David Celia does a nice version of “Claire” and Yawd Sylvester sings “Record Body Count.”  They have fun with Yawd (who mentions Tim’s album that he played on).  They call him the one-armed bandit and then say that “Yawd gives this the one thumb up.”  I wonder what happened to him.  There’s some fun jamming guitars (and accordion?) and other sounds.  And he says “Thanks you guys for putting smiles on 28 faces.”

Ford Pier comes out and Tim says, “Thanks, Ford, for not making us learn ‘Motorino.'” He retorts, “I didn’t not make you learn ‘Motorino,’ you refused to learn ‘Motorino.’  Who wants to hear ‘Motorino?’  Yea, well it’s not going to happen because of the lassitutde of these bastards.”  Tim: “That song is fucked.”  Ford: “It’s a damn good song and next year you’re not getting off the hook so easily.”  [He doesn’t sing it next year]. Tim: “It’s like five or six songs.”  Mike: “The only reason it didn’t happen is because you just got off a plane yesterday.”  Ford: “Perhaps we should be doing “Connecting Flights.”  But instead they play “Junction Foil Ball” and everyone messes it up at one point or another.  Guitars, vocals, timing.  It’s a mess, but fun.  And then right away starts the clapping for the next song, “Rain, Rain, Rain.”  Selina Martin sings it kind of crazy and growly and the final verse is pretty silly.

And then they’ve made it to the end.  John Crossingham comes out and they comment that making it to the end is an achievement in itself.

Mike wonders, “Is there going to be an encore?  Or are we going to be more theatrical about this?”
Tim: “The encore is tomorrow morning.”
Dave: “The encore is Selina Martin jumping around a bit more.”

The next song takes a bit of extra special tuning preparation, bear with us.  So John takes the time to thank the band for such a wonderful idea.  It means a lot to all of us who have graced the stage this evening.

Then Dave asks, “John where’d you get your toque?”  John: “On the floor at a Green Day concert at the Rico Coliseum.  I stepped on something and that was it.  I did wash it before I put it on my head.”  Dave: “You’d have to be pretty drunk to leave toque like that at a Green Day show.  How was the tour?”  John: “It was good.  Had its ups and downs.  His book On a Cold Road got us through.  If you haven’t read it already pick it up.  They’re even selling it over there, smartly.  Or perhaps you’d like to read about Italian baseball or hockey in the Republic of China?”

And then they’re ready to end the night with a great version of “A Midwinter Night’s Dream” (which is not available on the Slogett MP3 download).  John does an amazing job with this really difficult song.  He even hits the super high note in the middle.  It’s a solid version, and while I love Martin’ more of course, it’s really enjoyable.

There’s no encore since the show was already 3 hours long (!).  Although there is a crazy noise at the end of the song for a couple of minute–with synths and Martin messing around.

What a fun night.

[READ: July 7 , 2017] Spill Zone

Sarah loves Scott Westerfeld, although I hadn’t read him before. I had to wonder if this graphic novel was also a traditional novel, because I’d love to see how he described the visuals.  But I believe it is only a graphic novel, so I just get to marvel in the visual imagination of Alex Puvilland.

This book starts out weird, no doubt.  Addison is a teen with a camera.  She has been taking pictures of her hometown in upstate New York.  Which isn’t so strange except that her town is a Spill Zone.

What’s that? Well, actually I don’t know yet.  Suffice it to say that it’s not good.  There are dead people, weird sightings and a roadblock with military personnel.  Addison speculates it could be a nanotech accident colliding with the nuclear power plant, an alien visitation, something from another world?  Some people escaped, like her sister Lexa, but most didn’t, like her parents.  Addison was not there when it happened, and since the accident Lexa hasn’t spoken a word.

She is part of group if what she calls crazy tourists who like to take pictures of the disaster. (more…)

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Adam Rapp & Mike Cavallaro–Decelerate Blue (2017)

Posted in #RESIST, Adam Rapp, Adventure, Alternate Reality, Canadian Music, Corporate skewering, Cows, Culture Shock, Disease, Dystopia, Fears, First Second :01, Free Speech, Graphic Novel, Mike Cavallaro, Parenting, Rheostatics, Sci-fi, Technology, The Future, Violence, tagged on November 15, 2017| Leave a Comment »

SOUNDTRACK: RHEOSTATICS-Fall Nationals, Night 5 of 10, The Horseshoe Tavern, Toronto (November 15, 2004).

The Rheostatics, live at the Legendary Horseshoe Tavern in Toronto, November 14, 2004. This was the 5th night of their 10 night Fall Nationals run at the Horseshoe.

Most of the shows they played a lot of the same songs, but this one has a lot of unique shows for this Fall Nationals.  About four or five that are only played tonight (and maybe on guest vocalist night).

The show begins with the only instance of “Onilley’s Strange Dream,” a long mellow jamming intro with Tim playing bass and Dave strumming while Martin plays some melodies and then begins the song properly.  Its slow and quite pretty and it’s nice to hear.  It’s followed by the crazy squealing guitar melody intro of “When Winter Come.”  Martin has to play the whole intro three times as it seems like they’re messing with him.  Mike says “that’s a big matzo ball hanging out there.”  The band sounds great playing this (although lyrics are certainly messed up).  Martin: “That was a memory test.”  Dave: “Indeed, a middling grade.”  Then Mike jokes: “That’s a nice shirt, Martin, did you and Selina go shopping at the same time?”  You can hear them talking about Valu Village “There’s an umlaut over the U at the one in Yorkville.”

Then they play the only version of “Superdifficult.”  It sounds great because Tim is certainly reliable.  As evidenced by the greatness of “Marginalized,” too.  “Polar Bears and Trees” is rocking and fun.  And then he introduces the opening track from our new album, “Shack in the Cornfields.”  As with many of these longer songs, each night’s show makes the song sound even better.

Even though I tend to like the sound quality of the Clarkson download, you can hear a lot of chatter in the background during the quiet parts.  You also can’t hear the poem during “Try To Praise This Mutilated World.”

For “Pornography,” Dave plays a different opening, which is nice.  And Chris Stringer is on the tambourine.  Dave says that Chris should take a solo next time.  On the tambourine?  No the guitar.   There’s some strange whooping in the crowd and Mike acknowledges the “pack of bonobo monkeys.”  Then comes
“Who Is This Man, And Why Is He Laughing?” written by “Michael Alexander Wojewoda “a direct descendant of Czar Nicolas” and Jennifer Eveline Foster on the accordion.  The song sounds wonderful with the accordion.  You can hear Mike talking in Polish.  It’s followed by the mellow “Here Comes The Image” with two keyboard solos full of synth trippiness.

For “Power Ballad For Ozzy Osbourne” they are going to play the intro this time.  They sing it–Dave says he hasn’t sung it in so long.  “I think you sing it higher.”  They futz their way through it and then get to the main song.

Dave starts talking to the crowd after the song: “No I haven’t smoked weed in a long time.  A little bit of hash every now and again.”  Mike: “It’s like your shift from beer to Fine Scotch.”  Dave: “But formerly lots of dope.”  The crowd goes crazy.  Dave: “oh, you like me, now.”

You can really hear the lyrics on “In This Town,” which gets two plays during the series, as does Christopher.  You can hear Martin say “we haven’t played Christopher.”  So they do.  It’s kind of slow but Martin is really into it and  he plays a cool echo-filled solo.

After yesterday’s karate discussion, there is no trouble during “Little Bird, Little Bird” and only one hoo and one ha.  But the song is surprisingly intense for such a mellow piece.  Dave thanks everyone for coming out on a Monday night.  He talks merch an Martin gets mad because he sang the song with Dave’s book title, but he forgot to plug it.  Dave says from now on he could sing “On a cold road {by Dave Bidini} somewhere in the south of Ontario.”  Someone in the audience shouts, “Dave, your books are great.” Dave: “Thank you, ma’am, should not everybody have a copy?”  Mike: “Shameless.”  Martin: “I read your new book too.  It was way more ambitious than I thought.  You said it was just teaching kids how to play music.”  Dave says he just pulled it out of his ass.  Mike: “you just pulled that out of your ass?  You’ve got a great ass!”  Dave: “All the girls in Vancouver wanted to touch my bum.  I wanted to ask Claudia if that was a trend.  The band starts playing a jazzy riff: “Merch music!”  It’s not like its going to be half off on Friday or Saturday because we want to get rid of it,  It’s already half off.  You know that place in Yorkville, Value Village with the umlaut over the u?  It’s way better than that.

They finally get to “Fat” which has a lot so synth in the intro with staticky washes.

They leave for an encore break that’s about 2 and a half minutes of Martin’s guitar echoing.

When they come back Dave plays Memorial Day.  Dave says they’re going to do a Rheostatics song from a long time ago that he was thinking about.  We have people from America and we’ll play this for our American visitors.  Someone shouts “Kill George Bush.”  “Me?  I’m not the man for that job.”

You hear people shouting requests.  Dave says, “You’re not just reading song titles off the CDs over there?”  The guy retorts, “Don’t make me say ‘Claire.'”

Then comes the only “Shaved Head” of the run.  It’s suitably slow and intense.   The slow twinkling guitar at the end segues perfectly into “One More Colour” which totally rocks.  There’s no coda ending on it, it’s just done and so are they.

The End.

[READ: April 14, 2017] Decelerate Blue

The only other story I know from Adam Rapp was a violent one called Ball Peen Hammer.  The art in that story was really dark and violent.

This book is very different from that one.  There’s a different artist first of all–Mike Cavallaro whose style is great: really sharp black and white images with a lot of expression in the faces.  But the story is very different as well, and I thought it was great.

Set in the not too distant future when speed is everything.  People read abridged versions of stories, they sleep standing up (it’s more efficient) and they say “Go” at the end of their sentences.

The story starts out with people putting go on the end of their sentences, which is puzzling.  But it really works–it lets people know that you are done talking and it is their turn to speak. (more…)

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Scott Christain Sava and Alison Acton–Animal Crackers (2017) [originally written in 2011]

Posted in #10yearsof01, Acrobats, Adventure, Alison Acton, Animals, Bears, Children's Books, Chimpanzees, Circus, Clowns, Elephants, Fears, First Second :01, Fish, Graphic Novel, Magic, Monkeys, Rheostatics, Scott Christain Sava, Split Enz, XTC, tagged on November 14, 2017| Leave a Comment »

SOUNDTRACK: RHEOSTATICS-Fall Nationals, Night 4 of 10, The Horseshoe Tavern, Toronto (November 14, 2004).

The Rheostatics, live at the Legendary Horseshoe Tavern in Toronto, November 14, 2004. This was the 4th night of their 10 night Fall Nationals run at the Horseshoe.  It was an all ages show and ran about 90 minutes.

There are two recordings available for this show.  The Sloggett version is from the soundboard, but the Clarkson recording sounds a bit bigger with more bass and stage noise.   Although you can’t hear the spoken word part of “Mutilated World” at all.  You can hear Dave’s daughter Cecelia chatting you can hear her at one point say “Hi, Tim!”

The start off saying they’ll do a coupe of songs from The Story of Harmelodia to start us out, get us in the mood.

They open with “Home Again” which sounds appropriately cute–Martin has fun with it.  Then for “It’s Easy to Be with You”, they “invite Don Kerr up on stage for this next number on the tenor guitar.  A man of many talents, above all growing a handsome mustache (MPW: or perhaps partially shaving a fanatic beard).  Don says: “Somebody called me papa smurf the other day because I had a cap on.” Dave: “I think Papa Smurf was a little rounder around the middle.”  The song sound nice with that extra guitar.

You can hear on the Clarkson recording “When is my song?”  Dave: “Gonna be maybe in about 5 songs?  Maybe in about 4 songs?  Wanna do it now?  well.  alright.  Does your brother wanna sing too?”  Cecilia (who is like 4 years old, maybe) does an amazing job with Dave Edmund’s “Almost Saturday Night.”  She has a great sense of melody and really gets the feel for the song.  At the end Mike says, “It’s a perfect song to sing on a Sunday.  That’s optimism.”  As she walks off you hear Dave say, “Good job, Cees.”  And she replies, “Good job, dad.”

Then it’s on to a solid version of “Claire” which they send out “to Paul Quarrington, Gillar nominated, should have won.”  Tim says, “co author of this song.”  Mike: “At least on the SOCAN form.” Dave: “A man who launched 1,000 careers.”

“Aliens (Christmas 1988)” opens with a kind of rocking rhythm.  Martin starts singing a weird version of Split Enz ‘ “I Got You” before doing the “whoo hoo hoo” and launching into an incredibly fast paced version.  When it slows down in the middle, Martin says, let’s bring it to normal speed.

For “Try To Praise This Mutilated World,” they also shout out to Chris Stringer on keyboard “bringing down the mean average age of the band.”  I normally can’t hear the spoken parts, but you can hear someone speaking polish I believe.  Each version of this song sounds better and better.

To continue this mellow middle section, Jen Foster is back on accordion for “Who Is This Man, And Why Is He Laughing?” and then comes “Making Progress.”  However, they start in wrong key.  As they get situated, Martin asks Dave why no one is showing minor league and jr league hockey.  Dave says that the CBC is complicit with the NHL in holding back younger players.  Once they get the song going, it sound perfect.

As an introduction to “Take Me In Your Hand,” Martin plays a quick guitar lick from one of his solo songs (“Waterstriders,” I think) and then segues into a very delicate version of the song.

Dave asks if any of the horn players from the Hebrew School Dropouts are still around (they opened the show).  Up come Adam and “Fedora guy” to play horns (including solos) for “Legal Age Life At Variety Store.”  Dropping out of Hebrew school is the best thing you guys ever did.

“Northern Wish” is a very pretty, very mellow version.  It’s followed by a really lovely slow version of “Stolen Car.”

After the encore break, Tim comes out to play a special request “all the way from California.”  He starts “Row” and asks if it’s the right song (it is).  He forgets a few lines but is otherwise quite pretty.  When it’s over, the requester shouts, “Thank you!”  Someone else shouts “Saskatchewan” but Tim says the Hebrew School Dropouts are going to school in Etobicoke so we’ll do a good Etobicoke song for them.  That song is “Self Serve Gas Station.” Martin changes a line to “What went wrong with little Jimmy, is he dumb?”

It segues into a wild, upbeat “Song Of The Garden.”  It’s rollicking and crazy and sort of segues into a slapdash cover of XTC’s “Radios In Motion.”

And that’s it.  It’s short show for the band, but probably perfect for an All ages crowd.  Speaking of All-ages, it’s pretty kid friendly, but not entirely (with some of Martin’s songs).  It would have been really fun to see though.

[READ: July 7, 2017] Animal Crackers

The origins of this story are confusing to me.  It was originally written in 2011 (and published by a different publisher (with a different cover, of course).  But there’s not much you can find out about it.  There’s also a prequel (also originally released in 2011) which came out by First Second around the same time, but that’s for another post.

This book bears the sticker that says “Now a Major Motion [Animated] Picture (due out in Fall 2017).”  Given how short this book is, I wonder if the movie is based on both books or what.  Guess we’ll see.  Since I first wrote that, I have seen that the film has been released, but not in the States.  And, it has major stars associated with it.  I still can;t imagine how they stretched this premise out to 94 minutes.

This story is cute and fun with some good humor.  The problem is that the entire plot is given away in the blurb on the inside cover (so don’t read that). (more…)

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Gene Luen Yang & Mike Holmes–Secret Coders: Secrets & Sequences (2017)

Posted in Better Than Ezra, Canadian Music, Children's Books, Clark [Canadian band], Fears, First Second :01, Gene Luen Yang, Graphic Novel, Hebrew School Dropouts, John Tielli, John Wojewoda, Kevin Hearn, Mike Holmes, Paul Linklater, Paul Quarrington, Robots, Science, Selina Martin, Series, Set at School, Smarty Pants, Technology, The Buttless Chaps, The Imponderables, Threats, Unfinished series, tagged on November 13, 2017| Leave a Comment »

SOUNDTRACK: RHEOSTATICS-Fall Nationals, Night 3 of 10, The Horseshoe Tavern, Toronto (November 13, 2004).

The Rheostatics, live at the Legendary Horseshoe Tavern in Toronto, November 13, 2004. This was the 3rd night of their 10 night Fall Nationals run at the Horseshoe.  This show was exactly 13 years ago!

I compared all of the setlists from the nine shows and was somewhat surprised to see just how much repeating they did. Most of the repeated songs are new ones–they played a lot from 2067, which makes sense.  But for a Fall Nationals, there’s really not a lot of “popular” or “rare” stuff.  But the band is in terrific form for all nine shows and the recordings are consistently great.

Over the PA, they’re playing some good music, which Martin says, “That was my brother’s [John Tielli] band, Clark, on the PA there.  We’re the Rheostatics project.

They open the show with “It” which is a fun way to start.  Martin is feeling a little silly and sings “I grew up on dinosaurs” and the rooooars to the delight of all.

You hear Martin say, “Woodstuck?”  They play and Dave sing a line and says “That’s wrong.”  But the rest of the song is right on and at the end after “hippie child,” Martin says “waah.”  Tim tells the story of someone bringing them a 24 track master of that song in Vancouver.  But he felt it was too heavy to bring home.  Although someone (Martin?) says that it is in fact in his basement.

“Happiness” seems to rock along really nicely.  After which Martin says, “It’s Saturday night in Bonertown.  The city where you can’t.” Dave: “But you can, its’ ok to have a boner.”  Mike: “Yeah, but can you smoke it?”

“Mumbletypeg” sounds a little sloppy at the beginning and Dave doesn’t sing the first line.  But they pull it together.  It’s followed by “Marginalized” which opens with a groovy drum before the funky bass and then an introduction of Chris Stringer on the keyboards.

Mike comments, it’s such a lovely extended summer up here.  Holy french fry lights, designed to beautifully bake us.

On “Four Little Songs,” each guy takes his verse: Martin, Tim, but when it’s Mike’s turn, Chris plays some crazy trippy synth noises.  Dave gets his verse and at the end, the fast riff devolves into utter chaos with Martin and Chris just making all kinds of weird ass noises.  They end the song with the bass thumps and state “By Mennen.”

Dave introduces “The Tarleks,” “here’s a song about a super salesmen”  Once again, Martin has a lot of fun singing it.

They play a zany version of “I Dig Music” and in the middle where Mike has to do his slow part (which he seems to really dislike), he says, “For the longest time I’ve been thinking Dave’s ideas were so gay and then he offered me a martini.”  After a sip MPW sings the Seymour Stein line and then they rock the end of the song.   I really enjoy Tim singing the “too bad.” backing vocals.

AS they start “Here Comes the Image” Dave notes the “double keyboard attack, eh?”  It’s really evident in the solo section as the one keyboard plays the solo and the other plays trippy sound effects.  Then up comes Jen Foster on accordion to join them for “Who Is This Man, And Why Is He Laughing?”  Martin is singing something in his robotic voice thing but I can’t tell if it’s just sounds or actual words.  At the end, Martin says, ”That’s a nice walk in the park, doncha think?”

Tim notes: “our heritage gets to shine in that song.  A little bit of Czech, little bit of Italian, little bit of French, little bit of Polish.  No English.”

“Pornography” opens with synths which is a nice change.  coincidentally, Dave says to someone: “You put your shirt back on, I see.  Good idea, sir.”

“We Went West” continues the rather mellow middle section of the show.  At some point Dave, I think says, “while you’re there check out the place mats they’re hilarious.”

Next up is “California Dreamline.”  Dave announces, “We’d like to invite Paul Linklater up for the next song.  He sang this song with us last year on guest vocalist night and we have guest vocalist night next Wednesday.  His rendition is pretty painful.

The next guest is during “I am Drummstein” Ladies and gentlemen, the star of stage and sound in Belleville, Ontario, Mr Anthony Fragomeni:  “Too bad that you quit Vebron, wasn’t working out?  They kind of sucked.”  While they are in the middle grooving section, Tim says, “This is the Better Than Ezra part of the evening.”  In a real coincidence, on this same day in 2017, Barenaked Ladies announced a summer tour with Better Than Ezra opening.  I haven’t thought about them in ten years.

“Satan is the Whistler” is quiet and menacing to start.  Martin gets the fast guitar riff pretty well this time.  But he’s still being a little silly singing “moose away aroo aroo arroo” and then “Satan is the Whistler, Satan Live in Whistler, arooo!!!”

During the encore, they raffle off an item with a ticket.  When Tim reads out the number, someone whoops and Dave says, “There’s always one guy who claims he has won when he hasn’t won.  I wonder what void you’re trying to fill in your life.”  Then after a pause.  “Just kidding.”  No one claims the prize, so Dave says anyone can go to the merch table with it later.

“Little Bird, Little Bird” is insane.  It starts with some silliness when Dave mocks Tim for his hat and then says, “Tim you have to bring popping and snapping to country music.  It hasn’t happened yet.”  They play the song and then midway through the it stops with much laughing.  Dave says, “there’s no room for karate in this song.  Cant believe you re always trying to sneak your karate in there.”

Time retorts, “Wait a second, you guys made that “ho ha”part while I wasn’t in the studio and now it comes time to do it live and I’m the only one doing it?  Dave says: “We’re not going hoo ha and laughing in the middle of it.”
Tim asks the audience, “Who won the debate, Tim or Dave?”
Dave: “There was no debate because you’re not gonna do it any more.”
They compromise: “everybody ho ha and nobody karate.”
Tim mutters, “I hardly even karate’d I can’t believe you saw it.”
Dave: “I couldn’t help but see it, you almost took me out with one of those chops.”
Martin: “He’s feeling sensitive like a little bird.”

They finish the song and then Martin says, “okay we’ll do ‘PIN’ for ya.”  But before the song starts we get a run down of all of the opening acts for the next few shows:

Sunday matinée: Hebrew School Dropouts on at 4.
Monday night Selina Martin with the Formidable Forces of Bigness (Mike: Close enough Faceless Forces of Bigness).
Tuesday is free.  We’ll give about 61%.
Wednesday night Kevin Hearn is opening and it’s guest vocalist night.  Tim: “I’m definitely coming on Wednesday.”  Martin: “I’m going to come for every single night (get the bonus pack).”
Thursday is Killer Thursday Danny Michel.  And apparently John Wojewoda will do some Bluegrass Nightmare.
Friday the Buttless Chaps are flying in from Vancouver.
And Saturday, The Imponderables will be back.

After “PIN,” “Ozzy” sounds even more maudlin with the mandolin and backing vocals, but there’s a pretty wild solo.  There’s a special shout out to Chris Stringer: “you can’t tell but he’s actually playing all our parts for us. “

They end with a lovely ending “Making Progress” which has a wonderfully smooth ending.  Thanks to all the out of towners, out of country-ers and out of mind-ers.

Then the guys come back out to try to get rid of the raffle prize.  Tim runs through a bunch of numbers.  Come on, people get with it.  I wish I had money to burn. I remember when 50 cents meant something.  Finally he says, “Well come and get the fucking t-shirt, Oh. He’s a liar.”  This is so embarrassing… anyone show me half a ticket?

[READ: April 14, 2017] Secret Coders: Secrets & Sequences

Secret Coders 2 ended with a pretty big cliffhanger.  Tabitha and I were a little bummed that there wasn’t more of a recap at the beginning of this book.  We sure hope that book 4 has a bit of recap because we’ll never remember the ending of this one when its time for that book (which just came out).

The kids are able to use the repeat function of the turtles to scare of the mean old rugby players.  In the commotion, it sure looks like the Professor’s nose falls off (what?!).

The next day in school, one of the rugby players calls for a truce, he never realized that Principal Dean was such a bad guy.

The kids learn about parameters–how you can use the same code, but just change a variable to make a bigger object (in this case, triangles). (more…)

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Kelly Sue DeConnick & Emma Rios–Pretty Deadly Volume Two: The Bear (2016)

Posted in Death, Emma Rios, Fears, Feminism, Graphic Novel, Huh?, Jessica Lea Mayfield, Kelly Sue DeConnick, Laura Burhenn, Murder, Old West, Superstitions, Surreal, The Mynabirds, Tiny Desk Concert, Umoja Choir, Violence, Yuck! on November 10, 2017| Leave a Comment »

SOUNDTRACK: THE MYNABIRDS-Tiny Desk Concert #670 (November 10, 2017).

I thought the name The Mynabirds sounded familiar.  Turns out they performed Tiny Desk Concert #64 (by my count).

Bob Boilen says he

first met Laura Burhenn ten years ago for a songwriting project she did with John Davis, her then bandmate in the duo Georgie James, here at NPR called Project Song. [which I plan to write about at some point].  Her current band, The Mynabirds, are Tiny Desk alum, Laura having played her first Tiny Desk Concert in the spring of 2010.  I’m not one to repeat artists at the Tiny Desk. I’m more into discovering and challenging new bands to play in this intimate and awkward setting. But this project was so different and Laura had ideas about how to make it even more special from what she’d done back in 2010, so I couldn’t resist.

2016 was a tough year … the elections and subsequent inauguration, which were devastating to many. But what transpired next for anyone dismayed by those events was inspiring: The Women’s March united many who were in despair, while giving purpose and focus to what for them was an unthinkable outcome in the election of Donald Trump.

Then came the songs – nine new ones Laura Burhenn wrote with Patrick Damphier, inspired by the many marches around the country, listening to the news, seeing social media, talking to friends and taking it all in. The result is The Mynabirds’ politically charged 2017 album Be Here Now.

The band sings four songs.  “Golden Age” features Laura on keys with a backing band of cello (Alexia Kauffman), guitar (Emily Moore) and bass guitar (Damphier). This song is full of lamentations and her husky voice works quite well with it.  She speaks of dead musicians, and political horrors.  The solo in the middle is interesting for it being deliberately jarring and somewhat out of tune.  Lyrically the song is pretty outstanding

Tell me, where are our heroes
Are they stuck at the wall?
Cause we got some real villains to stop
Before they kill us all

I see what you’re doing
With the Jews and the Muslims
You’re sawing us all
In half with your fake fear

My heart’s full of love
And all kinds of peace
But I think even
I 
Could punch a Nazi 
In the face

I just wish the song was more angry than sad.

For second song, “Shouting At The Dark” The People’s Choir come in.  The song rocks more with a great swinging bassline and some interesting muffled chugging guitar.  The choir really fills out the song and it sounds great.

I love the melody of the chorus which is once again, not entirely pretty–slightly haunting, except that they sound beautiful.  Adriana-Lucia Cotes is hitting these slightly dissonant notes that really standout in an interesting way.

Before the third song, “Hold On,” Laura talks about the choir, songwriting and the Muslim travel ban:

While recording this album, a travel ban was issued affecting six Muslim-majority countries. She wrote a song for refugees inspired by the ban and got in touch with friends back in Omaha at the Refugee Empowerment Center. It is there she learned of the Umoja Choir whose members include resettled refugees from The Congo, Rwanda, Tanzania, Uganda and Zambia and they ended up singing on her record. Laura also started a GoFundMe campaign for them to record their songs. Now some of those choir members Diendonne Manirakiza and Eric Esron (refugees from Burundi) have come to the Tiny Desk for a powerful set of songs. They’re joined by Michael Boggs, another Tiny Desk alum: Jessica Lea Mayfield. It’s an inspired project that I’m excited to share.

“Hold On” is “about having a heart.”  It’s a slower song with acoustic guitar and prominent cello.  The choir sounds like a “real” choir instead of backing vocalists on this uplifting song.

“Wild Hearts” opens with a cool echoed electric guitar.  For this song the choir works as powerful backing vocalists on this even more uplifting song.

[READ: May 20, 2017] Pretty Deadly 2

I didn’t really like the first book of this series.  And I didn’t like this book much either.  So I am officially giving up.

This book continues with the exposition by butterfly and dead rabbit.  An old woman, Sarah, is dying.  During the night she is visited by a ghost–of the man with slashes across his eyes, Fox (I can’t recall their relationship). Granddaughter Clara walks in and see the ghost.  Clara’s mother comes in and sees the ghost too.  And after some ugly words they ask if they can keep Sarah from dying until her son gets back to see her one last time–he is off fighting in a war somewhere. (more…)

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Kelly Sue DeConnick & Emma Rios–Pretty Deadly Volume One: The Shrike (2014)

Posted in Ani DiFranco, Death, Emma Rios, Fears, Feminism, Graphic Novel, Huh?, Kelly Sue DeConnick, Murder, Old West, Superstitions, Surreal, Tiny Desk Concert, Violence, Yuck! on November 9, 2017| Leave a Comment »

SOUNDTRACK: ANI DIFRANCO-Tiny Desk Concert #669 (November 8, 2017).

Back in the day, I really liked Ani DiFranco.  I saw here live a few times.  I loved her whole indie thing (all her music on her own label) and her politics.  Plus her songs were interesting and catchy.  And then, some time around 2000 I lost interest in her music.

I didn’t really like the new jazzy/funky/extended sound that she was playing with.

This Concert has two newish songs and one old song (it’s great to hear the old song again).

For her Tiny Desk debut, DiFranco brought a hell of a backing band, with drummer Terence Higgins and singer/violinist Jenny Scheinman joined by none other than Ivan Neville on keyboards.

I felt that her song writing style didn’t really lend itself to jazzy funky style. And I still feel that way.  The blurb notes that the band lends a slithery underpinning of funk to three songs that stretch across much of DiFranco’s career.  And Opening with “Dithering,” from 2014’s Allergic To Water, that is true.  But one of the things I loved about her music was her excellent guitar playing.  And on “Dithering,” all of the action of the song comes from the funky keys (and it’s a great groovy funky song), but I find that he singing style doesn’t quite work with the music.  Her voice still sounds terrific, though and Scheinman’s backing vocals are terrific.

Even if I still don’t love her new songs, I’m glad she’s still doing her own thing:

But she’s also kept her core values intact, from her outspoken commitment to progressive social causes to her strenuously maintained independence from the machinery of the music industry.   DiFranco introduces “Play God” (from this year’s Binary) with a monologue about reproductive rights and gender relations.

And it’s fantastic–pointed and thoughtful with just enough edge.  Musically, the song brings back some of her fingerpicking style and I do like Neville’s funky keys.  In fact the funkiness of this song feels natural.  And lyrically it’s great too.

She and her band close with 1998’s “Swan Dive,” which she calls “an early attempt at a happy song.”  I get a kick out of how she gets another guitar change and says “I never play a guitar twice.”  This song showcase what I loved (and love) about her songs–a complex and interesting guitar/rhythmic/percussive pattern that she does by herself.  The additional musicians add more fill, which sounds nice–the gentle keys and the slow violin (which also makes some great noisy sounds) as well as the way the drums kick in for the chorus.  It all works great.

It’s been about fifteen years since I really listened to her and I’m glad she’s still rocking to her own beat.

[READ: May 1, 2017] Pretty Deadly 1

I love Kelly DeConnick’s work with the Marvel Universe.  So I was pretty excited to read this story which is her own creation.

When I went to log this book on Goodreads, it said that this book marries the magical realism of Sandman with the western brutality of Preacher.  And I found that uncanny because as I was reading it I thought that the style of elliptical writing and even the placement of the text boxes in relation to the pictures was very much like Sandman. But the brutality of the art and the setting reminded me of Preacher. Clearly I was onto something.

I loved Sandman. I liked Preacher (never actually finished it, though), and I fear that this book is more Preacher than Sandman for me.

It begins very confusingly with a butterfly talking to a dead rabbit.  They are telling each other stories and they tell the story of when they met (which appears to be when the rabbit was shot and killed). (more…)

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Kelly Sue DeConnick, David Lopez and Marcio Takara–Captain Marvel: Stay Fly (2015)

Posted in Aliens, Beyonce, Bob Dylan, Captain Marvel, Cats, Christmas, David Lopez, End of the World, Graphic Novel, Huh?, Kelly Sue DeConnick, Marcio Takara, Rats, Santa Claus, Spider-Woman, Superheroes, Tiny Desk Concert, Unfinished series, Violence, Whitney Houston, Wyclef Jean on November 7, 2017| Leave a Comment »

SOUNDTRACK: WYCLEF JEAN-Tiny Desk Concert #668 (November 6, 2017).

Wyclef Jean is a pretty exceptionally famous person.  And it is wonderful just how sweet and funny he is.

He starts his set with two highlights from his latest record, and finishes with a climactic rendition of his signature hit like you’ve never seen or heard.

The Tiny Desk Concert didn’t start out that inspiring me though.  For some reason he is reciting over and overt about bars on the bass.  No idea what that means.  He raps a brief biography that really kicks in when he sings:

“I flipped the language.  I called Trump started speaking Spanish (a Spanish verse).  Trump hung up the phone said I’m still not convinced.  I said you might be convinced when I sing in French.”  It’s all a lead in to the first song “Borrowed Time,” where he sings and plays lead bass.  Interestingly, he is playing a lead bass while Patrick Andriantsialonina also plays bass (throughout this song and each song).  It’s a gentle song, sweet and pretty.

When the song is over he removes his jacket:

I ain’t gonna front.  Everybody that’s watching this live right now knows when I was doing the rehearsal I did not have my jacket on.  I threw it on because I had to get my swagger.  Speaking of swagger, the blurb notes:

A seasoned pro, he walked through our doors greeting and charming anyone within arm’s reach. Once in front of an audience, he was in attack mode, playing every instrument in sight. Clef doled out stories ranging from his upbringing and rise with The Fugees to intimate musical encounters with Whitney Houston and Destiny’s Child. The mentions were properly placed and added substance to the performance, but to me, he pulled what I’d call a “subtle stunt.” Hip-hop is and has always been about youth and freshness, so most elder statesmen of rap aren’t celebrated to the degree of their peers in rock ‘n’ roll and country music. Every now and again it’s necessary to inform the younger generation, who would otherwise never know these epic moments ever happened.

He tells a funny story about his father wanting him to sing church music (he does a funny impersonation of his father “you got to serve gawd or the devil”).  He chose music and was kicked out of the house.  He moved in with his Uncle and that’s where they made The Score.  He’s been doing music since he was in his twenties.  He says people might say:

“Yo Clef is thug, but he kinda geeky.”  It’s the audio side.

He tells a story being 20-something (being a cocky 24-year-old) and making a beat for Destiny’s Child and Beyonce.  And then a hilarious story about Whitney singing flat.  As a producer I think Whitney hit a flat note.  “Oh my god, Wyclef Jean has to tell Ms. Whitney Houston that the note is flat.  As a producer we’re like astronauts we have obligations.” [laughter].  He continues in a whiny voice: “I don’t know if this rocket is gonna fly.”  He continues: “‘Whitney, the note is flat.”  Dead silence.  She goes, ‘Baby, the note is not flat, I just bent the note.’  And that’s the highest level of diva I’ve ever seen in my life.”  But she was right,  she took the note out of pitch and brought it back.”

He plays the keyboards on “Turn Me Good” with vocals from his niece Jazzy Amra.  When he introduces her, she comes and a guy follows to adjust the mic.  As he does, Wyclef comes out to “steady” the guy, it’s quite funny.  Wyclef sings the main chorus: “What we gonna do when we get to Zion?  We gonna make love all night like a Marvin Gaye song.”  {That’s an odd song to duet with your niece].  She has a pretty voice but I don’t like her delivery.

When the song is over he says, “I’m swearing like a monkey, dog, but don’t edit the footage, coz I got to show the kids how the work go.”  He asks for a towel “Is this like a Tiny Desk Towel exclusive?”

Introducing “Gone Till November” he says to his bassist, “Ask me the coolest thing about ‘Gone to November.'”  Patrick asks him and her replies, “Well Patrick, the coolest thing… I did this song because it’s about making runs about selling drugs….  I’m a big fan of Bob Dylan so the lyrics be having triple entendres not just double entendres.  I wanted Bob Dylan to be in the video.  Haters they be shouting ‘Bob Dylan will never show up for your video he doesn’t even show up for his own son’s video.’  But Dylan showed up.  So Mr Dylan if you’re watching we’re going do a rad version of for you coz you’re so cool man.”

Wyclef picks up the guitar.  After a buzzy guitar solo, the song settles down to some pretty chords and Wyclef singing.  This is apparently his big hit, but I don;t know it.  After a few verses and choruses, he slows it down: I got to talk to some of these kids, I’m 20 years older than most of them.  He does a slow rap followed by a really fast verse.  Manny Laine on drums does a great job so slowing down the beat and then bringing it back up during Wyclef’s (really long) solo.  It has a very Hendrix feel.  After playing for a minute or so, he puts the guitar behind his back and plays fairly well.  Then he plays with his teeth.  And finally picks up an NPR mug and uses it as a slide.  It’s all in good fun and the crowd eats it up.

It’s a really fun set, and Wyclef makes a great impression.

[READ: April 19, 2017] Captain Marvel: Stay Fly

I mentioned that Captain Marvel is confusing.  And even after I think I’ve straightened it out it’s still confusing.

This series is Volume VIII.  It contains 3 books: Captain Marvel, Volume 1: Higher, Further, Faster, More; Captain Marvel, Volume 2: Stay Fly; Captain Marvel, Volume 3: Alis Volat Propriis.

Prior to this, DeConnick wrote another Captain Marvel series Volume VII.  No idea why they are different volumes.  But there are also three books in this series Captain Marvel, Volume 1: In Pursuit of Flight; Captain Marvel, Volume 2: Down; Captain Marvel, Volume 3: Captain Marvel and the Carol Corps and, according to Goodreads at least, included in Volume VII is Avengers: The Enemy Within which seems to come before Carol Corp.  For some reason, very few libraries seem to carry this particularly series.

And then, just to throw more confusion into the works, there is a new series (the Captain’s logo looks different and it is not written by DeConnick) called Captain Marvel 2016.  There are five books in it with two being out so far: Captain Marvel, Vol. 1: Rise of Alpha Flight and Captain Marvel, Vol. 2: Civil War II.

Phew.

So, with all that background, it took me two years to track down Book 2 in the Volume VIII saga.  And I was really surprised at how silly it was.  Not necessarily in a good way, either.  I mean, sure I love the Marvel humor and I love that they play around with some interesting ideas, but I feel like Carol Danvers is a pretty great hero and she is spoken of in very high regard.  So why then does this book prominently feature cats, rats, rock stars and Santa Claus?  It seems to really play down her mad skills.

I was also a little put off by the artwork.  I really don’t care for Marcio Takara’s style in the first few chapters.  In part because it looks so very different from the cover art and Lopez’ art. I actually had a hard time following what was going on (which may have been the two-year gap, but I don’t think so). (more…)

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