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Archive for the ‘Authors’ Category

Mark Joyce–Mythical Irish Beasts (2018)

Posted in Adventure, Animals, Canadian Music, Caves, Culture Shock, Curses, Death, Demons, El Speedo, Fables, Fears, Gods, History, Immortality, Invisibility, Irish Writer, Jane Siberry, Lakes, Legendary Saga, Loch Ness Monster, Loudon Wainwright III, Mermaids, Myths, Religion, Rheostatics, Sarah Harmer, Steven J. Gibson, Superstitions, Surreal, Talking Heads, The Chickens, The Tragically Hip, U.I.C., Violence, tagged on February 17, 2019| Leave a Comment »

SOUNDTRACK: RHEOSTATICS-The Horseshoe Tavern Toronto (February 17, 2001).

It’s hard to believe these shows were 18 years ago!

This was night 4 of 4 of the Horseshoe Tavern’s 53rd Birthday bash.  It was the final night and one of the longest shows I can recall at almost 3h in length. The Chickens opened the show.

It was hard to find information about The Chickens.  What I learned was that they were originally a band called U.I.C. which was first an acronym for Unemployment Insurance Commission but was later changed to Up in Canada.  They broke up and then years later reformed but as a different band.  From Now Toronto:

Not only do the Chickens boast the propulsive rhythm section of former U.I.C. drummer Murray Heywood and bassist Dan Preszcator along with the devastating firepower of U.I.C. guitarist Fred Robinson, but they also have the megacity’s most exciting microphone mauler, U.I.C.’s Dave Robinson, fronting the band.  That’s right, Exeter’s answer to the Stooges have clawed their way back from obscurity to kick ass with a vengeance. So why the name change? Well, despite the fashion-world dictate, the 80s are over and the Chickens aren’t a nostalgia act.  The songwriting savvy of former El Speedo guitarist Ken Mikalauskas has added a sharper pop edge to the compositions, as can be heard on the Chickens’ cranking new Prepare To Plug In (Egg-cellent) album.  “We went through about a million names and even contemplated going back to U.I.C., but it didn’t click. Ken has contributed so much to our sound that this really feels like a new group. Besides, none of us really liked the name U.I.C. anyway.”

So that’s the opening act.

For the main act, the band plays for nearly three hours.  They played almost all of Night of the Shooting Stars (songs are in bold–excluding “Remain Calm” or “Satan”).  There was a nice intro by Jeff Cohen (which states that The Horsehoe was originally a country club, which makes sense.)

And then they jumped n with six new songs.

“The Fire” which Martin says is “a new song Dave and i are working on.”  There’s some great harmonizing between the two of them at the end–they don’t duet enough.  It’s followed by some short, poppy song: “It’s Easy To Be With You” and “Superdifficult.”  Martin speaks the title through his robotic voice in low and high register and Tim says that thing was in my dreams last night.  It’s such a great but far too short song.

“The Reward” has such a great slinky guitar riff.  It’s another satisfying new song.  As is “Mumbletypeg” although they can’t seem to synch up on the intro to this song.  Dave yells “all together now” and they get going.  The new stuff ends with “Song Of The Garden” which Tim dedicates to Sarah Harmer’s new album.

Then it’s back to older songs.  There’s a soaring “Self Serve Gas Station” which segues into a screaming “RDA.”  They throw in some tags to The Clash’s “I’m So Bored with the U.S.A.” with DB shouting: “I’m so bored with the U.S.A.  I’m so angry at the U.S.A.  I don’t give  a fuck about the U.S.A.”  When the song is over, Dave says,  “We almost sounded like The Chickens there.”

There’s a discussion of music and hockey and The Chickens should be called The Gas Station Island Five since the starting line is the entire chickens band–they’re amazing on the ice.  One of them says “We’re gonna kick The Morningstars ass (Bidini’s team) at the Exclaim Cup.  DB notes: “Different division.  They can’t put us in the same division because there’s always a big terrible beautiful brawl when we play each other.  The Exclaim Cup.  April 13-15–it’s free.  It surprises you that it’s free to watch these guys play hockey?

Tim says they’re going “way back for” “Torque, Torque” which was fun to hear.  Especially since the follow-up the new song “In It Now” has a similar guitar sound.  I love the guitar riff and melody of this song.

They tale a small break to talk about the celebrities they’ve spotted on the last couple of nights, including Dave Reid, from Centennial High, where they performed Harmleodia.

Someone shouts “I’m looking for some fun” (the opening of Fish Tailin’)  DB: “Hey Martin that guy wants to talk to you.”  Martin says they’re playing something else.  When the guy shouts again, DB says, “Perhaps you would like to try another club if you’re still looking  Because we’re cooking.”

They play a great “Junction Foil Ball” during which a fire alarm goes off.  After the song Tim checks, “that wasn’t a real fire, right?  It was just Dave’s riff was too hot.”

They play a long “Dope Fiends and Boozehounds” with a wild drum solo in the middle and loud and roaring ending.   Then they play “Me and Stupid” and Dave forgets the words in the first verse (perhaps the first time I’ve heard him forget a lyric) but he is undaunted and they do fine until the end.  Mid song, Don quotes a poem “High Flight” by John Gillespie Magee, Jr. “and done a hundred things/You have not dreamed of –Wheeled and soared and swung.”  Then Dave quotes Wilderness Gothic by Steven J. Gibson “something is about to happen / two shores away a man hammering in the sky.”   [Both poems are printed in their entirety at the end of the post].



 


Martin’s been nominated for a Juno award for original art work–they’re never nominated for a musical category–the art has always been better anyway.  The Story of Harmelodia is being produced by the One Yellow Rabbit theater company in Calgary.  So up next is “The Sky Dreamed” on which Don Kerr takes lead vocals.


 


Don says he’d like to thank Maureen for “giving me an official Canadian tartan jacket, which means I am now an official Rheostatic.  Martin says Canadian tartan used to be our uniform.  Tim: and our bedding.


 


“Baby I Love You” a goof track from Nightlines Session is requested many times.  Tim says they considered it for Valentine’s Day, but it’s too complicated and doesn’t work without a Fender Rhodes.


 


For “Loving Arms” they are joined by Carmen from a fine band called Check (I guess). She sings backing vocals which sounds very pretty.  I never noticed that the ending melody sound like the guitar for “Here Comes the Sun.”  It’s followed by one more new song–a great version of “P.I.N.“


 


Dave says they played Sydney, Cape Breton where they don’t get a lot of bands and they go crazy.  Somebody sent up shots of tequila and we stopped a song and played “Tequila.”  We kept shouting tequila but nobody was sending up any more shots.  And then all of a sudden there were 48 of them.  We’ve never been the same.


 


Then the bust out a surprise: “The Ballad Of Wendel Clark Part 1 and 2.”  During the song, Dave B talks to Dave of the chickens about what it would be like playing against Wendell.


 


Then it’s time for two Stompin’ Tom songs.  “Horseshoe Hotel” which they learned just for this occasion.  Tom wrote it in 1971 about this hotel where people drank a lot.  Tim follows with “The Ketchup Song.”  people requests “Bud the Spud”, but they have a two song Tom quota.  Plus, no more than one song about potatoes you don’t wanna get to filled up on potato songs.


 


Then comes an amazing trip of a set ender.  A simply beautiful version of “Stolen Car” followed by an intense “Horses.”  The version includes Dave chanting the Talking Heads’ lines from “Crosseyed and Painless” and Martin reciting the Tragically Hip’s “Blow at High Dough” through his computer voice.  The noisy outro of Horses segues into a lovely quiet intro of “The Wreck Of The Edmund Fitzgerald” and the crowd goes nuts.


 


It’s an amazing set ender that should satisfy anyone, but the Rheos are not done.  After a fairly long break they’re going to play for about 40 more minutes.  Someone shouts “Saskatchewan” and Dave says, yes, we were gonna do that but we ran out of time.


 


So instead, it’s “Legal Age Life At Variety Store” which features Tim Mech on guitar.  As they start the chords, Dave says, “you’re writing something in your notebook but how do you know which song were doing?  We could be doing “Rockin My Life Away” by Jerry Lee Lewis or “The Swimming Song” by Loudon Wainwright III.  But of course it’s “Legal Age Life” and everyone gets solos: Freddy and Davey from The Chickens and Timmy (Mech) who does a weird solo.   Tim Dave and Fred–the triple threat!


 


Somebody shots “Everybody Knows This is Nowhere,” but Dave says they can’t do it without The Bourbons and the guy shouts “I take it back!”


 


Two more new songs include a rockin “CCYPA” and “We Went West” which seems a weird song for an encore (it’s pretty slow), but it sounds good.  It’s followed by another surprise, their version of Jane Siberry’s “One More Colour.”  Dave says that they have a song on the (incredibly diverse) compilation box set Oh What a Feeling 2.  Proceeds go to charity.  They are on it after Jane Siberry.


 


Then they leave, but they’re not done.  JC comes out and announces that it’s 2:30 in the morning (!).  Do you want to hear any more? No rules tonight.


 


The guys play “Northern Wish” in the crowd acoustic and unmic’d.  The recording is pretty good and the crowd really sings along–great fun there.


 


Everyone assumes they are done, but they’ve got room for one more, a rocking, late night version of “Introducing Happiness,” which sounds like it’s 2:45 in the morning but is pretty awesome, nonetheless.


 


What a show.


 


They played 63 different songs over the four nights.  There were 30 songs that were played more than once.


[READ: February 14, 2019] Mythical Irish Beasts This book is a fun illustrated collection of the historical origins of Irish beasts. Joyce does a lot of research (there’s footnotes!) and mentions many original documents to explain where these myths came from, but it is still a very simple introduction to these stories–a way to pique your interest. He also illustrates every beast in his striking but unusual artistic style.  I really like the look of his beasts, but they are certainly unconventional.  They’re very modern looking, which is interesting for these ancient creatures. There does not appear to be a reason for the order, but I’m going to list all of the creatures just because it’s fun to have some many weird words in print. (more…)

					
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Tanya Tagaq–“Split Tooth” (The Walrus, October 2018)

					

					Posted in Ben Kerr, Canadian Content, Canadian Music, Drinking, Excerpt, First Nations, Japandroids, Margaret Atwood, Racism, Rheostatics, Rick Springfield, Sex, Sexism, Suicide, Tanya Tagaq, The Chickens, The County Killers, The Walrus, tagged  on February 16, 2019|
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SOUNDTRACK: RHEOSTATICS-The Horseshoe Tavern Toronto (February 16, 2001).


This was night 3 of 4 of the Horseshoe Tavern’s 53rd Birthday bash. This show was webcasted by a company called virtuecast which was pretty ambitious for 2001. The Chickens opened the show.


They play seven song from the forthcoming Night of the Shooting Stars but otherwise they continue to mix things up a lot.


After a lengthy, effusive intro yesterday, Jeff Cohen is more concise tonight, which is good because this show goes super late.


This show is one of my favorites.  The opening bunch of songs are just phenomenal.


“Fat” absolutely rocks and is a great way to open the show.


Martin is excited to see everyone: “Its hot in here.  What a rock thing to say.”

Tim: “It’s the humidity.  That’s not a rock thing to say.”

Dave: “Yeah but it’s a dry heat.”

Tim: “Dry humidity.” “It’s those damn Chickens they just warm things up way too much.

Don: “It’s like a damn incubator up here.”


Someone shouts for “Californication” and Dave replies that the Red Hot Chili Peppers cover band is down the street.


The second song is an amazing “Sweet, Rich, Beautiful, Mine.”  Martin is totally into it–screaming and wailing vocally and on guitar.  Martin is fully animated on “Soul Glue” as well with fantastic backing vocals.


Someone shouts for “Jessie’s Girl.”  Dave replies, “There’s been a trend in people calling out bad songs asking us to play them.   But it would only make it worse if we played them because you don’t really want to hear them.  Rheos do Rick Springfield would be a very bad thing–a lot of bad energy.”


Two new songs, a ripping “CCYPA” (I’m a member!” and one of the best live versions of “We Went West” that I can recall.  It’s really sharp and alive and Martin’s guitar solo sounds great.


Martin’s a little sloppy with the lyrics of “Northern Wish,” but it’s got great energy.


They haven’t done “When Winter Comes” in a while, but it sounds really good.  The crazy noisy guitar intro is cool and Don says they could send that out to The Chickens.  There’s a great dual guitar solo like Thin Lizzy and Dave sings about “greasepaint on VH1” instead of Video hits.  There’s a wild sloppy ending and lot of jamming.


It’s followed by a tidy “PIN” and then Martin rips through “I Fab Thee.”  It’s funny  that they talk about it being from a children’s album, while Martin loves to throw in that line about masturbating.  Dave says One Yello Rabbit is going to do a stage production of Harmelodia in 2002.


“Here To There To You” is Dave’s sweet acoustic song.  It leads to “Take Me In Your Hands” which Tim says “you might want to burn this next one in a CD.”


They invite Alun Piggins on stage and he sings his song “Heading Out West.”  It has a kind of country feel with gentle harmonica.


Martin says this next song (“Palomar”) takes place in Sowthern California (the same way the Japandroids pronounce Southern).  Dave sasys, “I really love the way you say southern its one of the things I love about you that extra bit of style.”  Martin doesn’t quite hear the difference but then says “English ain’t my first language.”


Dave loves a guy’s shirt which he shows off, but we never hear what it says.  Bummer.  Martin starts whistling the “We Are Very Star” melody so maybe it’s something about that.


“Legal Age Life At Variety Store” is wild and stomping.  Dave from The Chickens comes up and sings “I Wanna Be Sedated” (very well).  Dave introduces him as “Joey Ramone from The Chickens.”


They talk about The County Killers whom they met in 1986 at the Rivoli with Margaret Atwood and Ben Kerr (a Canadian author, broadcaster, musician and perennial candidate, who was most famous as one of Toronto, Ontario’s quirky street performers) on the bill.  They started the musical hockey night and this is the 14th year of music and hocket where bands lace up the skates and play.


Martin says “Satan Is The Whistler” is a funny song. They fly through it–sloppy with the fast parts and the ending which Martin comments as flub flub flub.   Don notes: “we’ve made it our policy to mess up the ending of every song tonight because this is all going to be webcast and we can’t have proper versions floating around.”


“Claire” is beautiful and then Dave says, “we’re gonna leave you with a dance number.”  It hasn’t been a dancing crowd but we hope to turn things around.  “Song Of The Garden” as a rocking ending with that wild guitar nonsense formation.


After the encore, Dave dedicates “Mumbletypeg” to Janet and baby Cecilia (aw, she’s at least 18 now).


The audience shouts for all kinds of songs, but Dave says how about “The Idiot” and it’s a solid version that segues into a strong, intense version of “Shaved Head.”


They start playing house music, but the band comes back after 2 minutes (which must have been a surprise).


Martin: “We’ve got a plan”

Don: “The plan is to keep on rocking until tomorrow.”

Someone: “Unfortunately I’ve been informed it already is tomorrow”

Tim: “That’s right, so see ya later.”  Then he notes: “Burn this one on your CD.”  It’s a rocking “Four Little Songs/PROD/Four Little Songs.”  Dave comments throughout the song: “Meanwhile in France” before Tim’s part and “can’t go wrong …can’t go wrong… unless its Don” (before Don’s part).  After a ripping PROD, they return to “four” with a completely nonsensical rambling jam.  It sounds terrible but fun (Tim: hey this is easy).


They end the night with “Don’t Say Goodnight,” a sweet folk song.  It’s a lovely ending to the night.  And people don’t want to leave, but JC says, “Sorry, it’s really late thanks for coming out an celebrating The Horsehoe.”


It’s an amazing show.


[READ: February 13, 2019] “Split Tooth”


This was a great story from an amazing talent.  I’ve seen her perform live and she is amazing.  But I didn’t know he could write so well.


This story begins with a girl in grade eight growing up in the North.


“It’s pitch black outside.  Dead winter.  We have not seen the sun in weeks.”  The door has frozen shut but “school has not been cancelled: it’s not cold enough outside. It has to be at least minus fifty with the wind chill to merit a day off.”


The cold has scared the blood out of her toes but Kamiit (mukluks) help feet navigate the snow and ice.


School sucks.  She has a cold sore and will likely be called “soresees” until it is gone.  The nicknames are never kind but are strangely amusing like “nibble-a-cock” given to the girl who “gave a blowjob to that hotdog on a dare.” (more…)

					
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M.A.C. Farrant–“Plastic Parts to Help with Life” (The Walrus, December 2018)

					

					Posted in Blue Jasmine, Canadian Content, Canadian Music, Clark [Canadian band], Flash Fiction, Funny (ha ha), Funny (strange), Huh?, Jim James, M.A.C. Farrant, Modernity, Rheostatics, Rik Emmett, Short Story, Surreal, The Shining, The Walrus, Woody Allen, tagged  on February 15, 2019|
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SOUNDTRACK: RHEOSTATICS-The Horseshoe Tavern Toronto (February 15, 2001).




This was night 2 of 4 of the Horseshoe Tavern‘s 53rd Birthday bash.  Clark (the band) opened the show.


The Rheos play seven songs from their soon to be released Night of the Shooting Stars (those songs are bold), including the two songs they didn’t play the previous night.


Jeff Cohen, owner of The Horseshoe gives a great intro to the band.


“King Of The Past” is an exciting opening.  Tim seems to get lost on the lyrics but musically it sounds great.  It’s followed by “Christopher” which also has a nice slow intro and some great jamming during the solo.


“The Fire” is a new song that I feel they didn’t play much after this tour–it features alternating leads from Martin and Dave and a harmonica!  “The Reward” is the other new song they didn’t play the night before.


There’s some talk of Napster.  Dave says, “I don’t know if it is shut down but there’s a lot of neat stuff on the Rheostatics section that we don’t even have tapes of.  He says to check out “our performance of “Claire” with Rik Emmet (I would love to hear that).  People may have already heard “P.I.N.” on Napster.


“Christopher” was dedicated to Jeff of Kansas City.  Dave thanks the people who come from out of town to make a vacation of their four night run.


“We Went West” is followed by two songs from Harmelodia.  “I Am Drumstein” is kind of crazy, with Don singing parts of it.  At the end Dave tells him, you would have been asked to leave Drumstein’s orchestra for that last cymbal hit.  It’s followed by a sweet “Home Again.”


The crowd finally gets to hear “Record Body Count” which has a slow opening. Tim and Martin have a hard time with the words in the beginning prompting Martin to ask “Who wrote this?”


Then they call Ron Sexmith up on stage for his song “So Young.”  During the set up, Dave says that years ago when Ron released his first album Grand Opera Lane Don Kerr was on drums.  Ron sounds a bit like Jim James.


Then comes the old song “Bread, Meat, Peas & Rice” which is simple and fun.  Martin does a kind of trumpet solo with his mouth.  Dave says “That’s for the premieres over in China.”  Someone shouts “They’re in Korea.”  Dave: “Did they move?  I didn’t get the memo.”  It’s followed by “Remain Calm” which almost seems like a response to the previous one.


Martin introduces “The Sky Dreamed” as a sweet song called “Bug’s Song.”  Is it possibly Don singing on it?  Then Martin plays a lovely “Song Of Flight” which segues into a terrific “California Dreamline.”


There’s two more poppy new songs, “Song Of The Garden” and “Mumbletypeg.”  They miss the spoken middle part, and it sounds like DB is still tinkering with the lyrics, but it sounds great nonetheless.


Heading into the encore break, they play an amazing “Horses” (Martin even busts out the robotic voice to recite part of it) and a stellar “A Mid Winter Night’s Dream.”  (I wonder if I’ll ever get to see that live).


After the encore break, someone requests “PROD” but Dave says we’ve got four nights to play that one.  So instead, he sings “My First Rock Concert” and then a terrific take on “Aliens” with a little jam section in the middle.  Dave starts singing “Artenings Made of Gold,” but Martin doesn’t remember it.  But there’s some very cool drums in this part.


The tape ends with a delicate version of “Bad Time To Be Poor” which gets cut after a minute or so.


This was another fantastic show.


[READ: February 13, 2019] “Plastic Parts to Help with Life”


This was actually a series of short micro-fictions or flash fictions or whatever we’re calling them these days.  Although these are not really that short (1/4 to 1/2 a page as opposed to just one paragraph).  They’re all mildly amusing slices of modern life–each with an absurdist twist.  This comes from the author’s “third book in a trilogy of miniature fiction.”


“In the Privacy of Their Own Condo”

He agrees to watch a Woody Allen film because she wants to watch Blue Jasmine.  He finds Woody Allen movies too emotional and loud.  Sure enough, there’s a car scene where they yell at each other for a full minute while driving. He flings off the covers and flees the room, naked.  She’s not going to give up on the movie, although she does turn the volume down.  Can anything salvage this debacle?


“Protest”

This one opens, “Bryce said to me during dinner, ‘You look like Jack Nicholson when you smile.'”  Of course, this leads to a discussion of The Shining.  Why do I look like I have a drooling leer?  The talk was interrupted by protesters in the driveway.  They are out there most nights anyway with bullhorns and signs.  And they had many things to protest. (more…)

					
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Shary Boyle–“Finissage” (The Walrus, March 2019)

					

					Posted in Alun Piggins, Art, Canadian Content, Canadian Music, Clark [Canadian band], End of the World, Francis Bacon, Huh?, Local Rabbits, Nelly Furtado, Rembrandt Harmenszoon van Rijn, Rheostatics, Shary Boyle, Short Story, The Golden Seals, The Walrus, tagged  on February 14, 2019|
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SOUNDTRACK: RHEOSTATICS-The Horseshoe Tavern Toronto (February 14, 2001).


After I thought I had finished hearing all of the live Rheostatics I ever would, Rheostaticslive posted four nights from 2001 (Don Kerr on drums).  This was night 1 of 4 of the Horseshoe Tavern’s 53rd Birthday bash.  I often wish I had been daring enough to drive to Toronto back in 2001 to see four nights of a band that I still hope to see rock out this year.


Clark (the band) opened the show.


This show is mostly new material–they played everything from the forthcoming Night of the Shooting Stars except “The Reward” and “Remain Calm” (all new songs are in bold).  The setlists would get pretty divergent by the fourth night.


This recording is great because you can hear the audience too.


As they get ready for “P.I.N.” there’s technical difficulties with Martin’s guitar: “It’s the setting up that’s the most exciting part of the show.”  The song sounds good, although the acoustic guitar is a little flat.


Even though this is primarily a new songs show, they follow up with the goofy “The Pooby Song.”  It’s a fun song with country sounding guitar and then some lunatic soloing from Martin.


Then comes a whole slew of new songs.  “Mumbletypeg” is such a happy fun song, a real pop gem with great backing vocals from Tim and wonderful falsetto from Martin.  It’s followed by “In It Now,” a poppy fun Tim song with a fantastic riff.


Before moving on to “CCYPA” Dave says “pace yourself.”  Martin says, “I don’t need to.”  Don chimes in, “What re you, Sting?”  To much laughter.  The Don notes that “Martin took off his Canadian tartan jacket.”  Dave: “They’ll arrest you in Ontario for doing that.”  “CCYPA” sounds great although Martin seems a little shaky on the words–or maybe it’s just his delivery.  Don is totally smashing the drums.


Opening “Superdifficult” Martin has fun with the voice processor for this song.   I love this song.  It’s so catchy I can’t believe it’s so short since it feels like there’s a lot of parts to it.  I also love “Junction Foil Ball” which is such a weird Martin song.  It sounds great here.   “Song Of The Garden” was on Harmeldoia but it was so good they wanted it on NOTSS as well.  This new recording should have been a huge hit, it’s so catchy.  It’s also got some really wild guitar work at the end–electronic/robotic sounding.


They take a break for some banter.  The Golden Seals.  Mike Bonnell and Dave Merritt from that band helped to write “Garden” and Don says that their then new album Storybook Endings is the best record of the year [a bold statement in February].  They discuss the worst album.  DB: The new Love Inc. album is really bad.  The first one was good.  Then they talk about a cassette tape that Ben Gunning from Local Rabbits made for their road trip.  It was so bad, they threw it out the window in Moncton.  Ironic that it was given to us by a member of a band who has made one of the best records of the year, The Local Rabbits.  Dave also says the Nelly Furtado record is quite deserving of its accolades.


One more new song, “The Fire” is a complex song with multiple parts,  It’s got a lovely melody and a gentle opening sing by Martin.  After a minute and a half, there’s some heavier guitar and lead vocals from Dave.  Then Martin takes over again.  When the two of them sing together at the end, it’s really fantastic.


Then it’s back to two songs from Harmelodia, the incredibly poppy “I Fab Thee” and the sweet “It’s Easy To Be With You” (although Martin tries to make some crazy noises during the solo–with some success).


They acknowledge Valentine’s Day–“It’s win a date with Martin, night.  Guess what color underwear he’s wearing!”  Then they play Martin’s “Valentine Song” called “The Idiot.”


They joke that they won’t play as long tonight: “Fewer songs that aren’t as good, played worse.  That’s our new direction for the 2001s.”


A pretty “Loving Arms” is followed by the story of the French woman who thought Don Kerr’s name was “don’t kerr” (Don’t care).  She also thought that David Bowie stole Don’s look (seriously).  Dave: “Bowie just came off his neck beard 2000 tour.”


The new song “We Went West” is sweet as always and it’s followed by the roaring (and sloppy) “Satan Is The Whistler.”   Martin has some fun with that robotic voice at the end.


Our “nightly dose of new wave” comes with “Four Little Songs,” which they jam out for quite a lengthy middle section.


People have been calling out for all kinds of songs, so Dave says that the next song, “Stolen Car,” combines the majesty of “Horses” with the lyricism of “Aliens,” the suspense of “Fish Tailin'” … what was the other one you wanted to hear?  The pathos of “Record Body Count.”  The solipsism of “Introducing Happiness” ….and (Martin chimes in: “it ameliorates all of them.”  It sounds great and the ending is just dynamite.


After the encore break they come back with a really poppy new Dave song, “Here To There To You.”    Then they actually do play “Fish Tailin’.”


The tape ends with a cool, moody “Saskatchewan” and then a cut-off “Feed Yourself.”  The tape is cut off before they get to the wild middle section, but what is played is pretty great.


[READ: February 13, 2019] “Finissage”


This is a weird post-apocalyptic “story.”  I honestly don’t even know if it’s a story.


The part of the story that I “got” and that I liked was:


The betrayed Earth demanded to be returned to Indigenous stewardship.  It took the crisis of mass extinction to make it so.


[and]


Males hadn’t been born for decades… but this was okay as it meant the patriarchy was finally over.  No more school shootings!  No more dick pics….


That’s awesome.  But the rest of the story, which is only one page, is less so. (more…)

					
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Mairghread Scott & Robin Robinson–The City on the Other Side (2018)

					

					Posted in Boygenius, Children's Books, Earthquakes, First Second :01, Graphic Novel, Lucy Dacus, Mairghread Scott, Mountain Man, Myths, Robin Robinson, Supernatural, Superstitions, Tiny Desk Concert, Valentine's Day on February 13, 2019|
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SOUNDTRACK: LUCY DACUS-“Ma Vie en Rose” (2019).


Lucy Dacus has been on a roll lately.  Her album Historian is fantastic.  She has put on some amazing live shows (I’ll be seeing her again in March), she did some amazing work as 1/3 of boygenius and now she has made a delightful version of “Ma Vie en Rose.”


The original is swooning and slow, allowing for the words to linger and tickle every inch of the listener’s ear.  But sometimes love isn’t slow and languorous.  Sometime, it hits you hard and runs fast with your heart.


So Lucy has recorded a version with this tempo in mind.  She says


I want someone to listen to this while running at top speed to the doorstep of the person they adore, ready to profess their deep, undying love.


Musically the song is pulsing beat and piano–electric guitar and bass and it is just relentlessly chipper.


She sings the song first in French and then in English in her gorgeous quiet(ish) voice in under 3 minutes–that’s a minute faster than the original which is only in French.


And she released it just in time for Valentine’s Day.


[READ: February 11, 2019] The City on the Other Side


The book begins on the other side of the veil that separates our world from the fairie realm.  It is a very thin but very powerful veil and virtually no one can cross it.


This is a story of fairies and humans.  And how our worlds impact one another.  When we build buildings, the fairies feel the digging and when the fairies had a war, it caused earthquakes,   The massive San Francisco earthquake of 1906?  That was caused by a massive fairie war.  That fairie war started when the Seelie (the creatures who bless brightness–birds, ferns, humans) and the Unseelie (who celebrate darkness-worms, rotting logs etc) couldn’t agree on a ruler.  They are expected to rule the underworld in equal parts–six months at a time.  But recently there had been trouble. The leader of the Unseelie didn’t like the way the Seelie seemed to be taking over (because humans were becoming so powerful) so he captured the Seelie leader’s daughter and waged war.


Back on earth we meet a young girl, Isabelle.  She is the daughter of a wealthy aristocrat who wishes her to be perfect–clean, respectful, and quiet.  In the summertime, she is shunted off to her father–an artist who is more interested in his work than his daughter.  But at least she can relax and play and get dirty.  It is while she is here that she sees a Seelie with a magical necklace. The Seelie is supposed to get that necklace to the kidnapped daughter of the Seelie leader.  But he has been wounded.  Since Isabelle is allowed to cross dimensions he pleads with her to help the Seelie.


While heading into the city with a helpful talking mushroom named Button, Isabelle’s necklace is stolen by…another human?  This young boy is shocked to discover that she is a human.  When he tells his story they agree to work together.


It turns out that the earthquake killed his parents and his discovered a rift between the worlds when the ground opened up.  He was rescued by the now-missing Seelie daughter which granted him the power to cross the veil. But no one has seen the daughter for many years so he–who is not welcomed in Fairlieland and has nothing waiting for him in human land–has become a simple thief.


The thief knows his way around the fairie world and has made something of a name for himself.  But that also means that Unseelie warriors are aware of what he does and where he goes.


How will these two humans find a princess in the fairie realm?  And will they ever even want to go back home?


This story was a little to fast for my liking–everything seems to be very truncated.  Maybe that’s because it’s a children’s book?  And while I am glad that it wasn’t stretched into two books, it just felt like it took on a lot and resolved it all really fast.


I also didn’t love the artwork.  I really didn’t like the fairie characters at all–they seemed hastily drawn and I didn’t really like the main characters all that much either.  The whole book felt like it was done very quickly.


Having said that, it’s a good introduction for kids to know about the Seelie and fairie stories–there are so many they can explore later on.  I did like how the final pages with Button the mushroom (my favorite character) were informative both about the story process and the history of San Francisco and the earthquake.

					
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Ian Lendler–One Day a Dot (2018)

					

					Posted in Braden Lamb, Children's Books, Evolution, First Second :01, Lau Noah, Miguel de Cervantes, Science, Tiny Desk Concert, Translation on February 12, 2019|
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 SOUNDTRACK: LAU NOAH-Tiny Desk Concert #823 (February 11, 2019).


Lua Noah is a Spanish singer/guitarist with a fascinating story.  She sings mostly in Spanish (with subtitles!).


Lau Noah’s journey as a songwriter and guitarist occurred by happenstance. She was born in Reus, Spain barely a few hours drive from Barcelona. She speaks and now sings in Catalan, Spanish, English and sometimes Hebrew. She’d played piano growing up (never guitar) and left Spain for New York City five years ago while in her late teens.


On a visit to Montreal in 2016, Lau hoped to go to a Patrick Watson concert with friends. But the performance sold out and she was left alone in an apartment while her friends went to the show. Then a snowstorm ensued. The apartment had two guitars and, with nothing else to do, she picked one up and began to play. She wrote her first song, “Pequitas,” which means “Little Freckles.”


Her songs are quite short.  “El Jardinero (The Gardener)” is barely 2 minutes long.  She plays complex chords but not in an elaborate way–just making lovely sounds in beautiful patterns.  The speed of her singing is somewhat at odds with the gentle playing, but it all works, as if she needs to get these passionate words out.


There’s a magical aura that surrounds Lau Noah as she sits behind my desk and embraces her guitar with one foot propped unnaturally high on a stool. As melodies pour from the strings, she sings these words in Spanish: “On the verge of the soul, there is a red petal, attached to the skins of mortals.” A few lines later in the song she continues, “a fragile petal that drinks the water of the most cruel stories: children who have never heard a fairytale, lovers who love, dressed in regret.” This is the sort of poetic tale that captured my heart amongst the thousands of entries I watched during the Tiny Desk Contest in 2018. Her song she submitted for the contest is called “La Realidad.”


I love the way in “La Realidad (The Reality)” she returns to a part where she plays a low note that rises and falls while everything else stays the same as she sings.


She says thats she is from Catalonia and was always afraid to sing in Catalan, so she sang mostly in English.  She is very happy to sing the next song “L’Adéu (The Goodbye)” in Catalan.  It has a beautiful melody and sounds very differrent from the other two songs.


She re-tunes her guitar for “La Belleza (The Beauty)” which has a very different fingerpicking style–faster and a bit more intense.  The melody rises and falls both from her fingers and from her voice.  It’s a mesmerizing song.


Before she played her final song, “Red Bird,” (in English) she quoted Spanish writer Miguel de Cervantes Saavedra, from his novel Don Quixote: “When life itself seems lunatic, who knows where madness lies,” Lau said, reading from her notes. “Perhaps to be too practical is madness. To surrender dreams is madness. And maddest of all: to see life as it is and not as it should be.”


She sounds just as lovely singing in English as she does in her other languages.


[READ: February 11, 2019] One Day a Dot


I don’t normally post about children’s picture books.  But this one has two things going for it.  It’s published by First Second and it’s pretty awesome.


This is, as the cover says, “the story of you, the universe, and everything.”  All in 40 pages.


It begins: One day a dot appeared.  And it was so excited to be there that it burst.


And that is the children’s version explanation of the big bang. (more…)

					
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T. Coraghessan Boyle–“Asleep at the Wheel” (New Yorker, February 11, 2019)

					

					Posted in Excerpt, Homelessness, Kurt Vile, Marriage Trouble, New Yorker, Parenting, T. Coraghessan Boyle, T.C. Boyle, Technology, The Future, Tiny Desk Concert on February 11, 2019|
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SOUNDTRACK: KURT VILE-Tiny Desk Concert #822 (February 6, 2019).


I love Kurt Vile.  I love his sense of humor, I love his attitude and I love most of his music–I love the way his songs are often circular with catchy parts.  I wish I liked his music a lot more-but some of his stuff is a little too meandering for me.


Having said that, he was dynamite live.  And this Tiny Desk is a delightful distillation of his live show.


For this show Kurt plays acoustic guitar and he’s joined by guitarist Rob Laakso and a drum machine.


“Bassackwards” is a wonderful song–and really highlights everything I love about Kurt.  It’s a mellow song with chill out lyrics, a beautiful melody and a circular style in which the song never really seems to go anywhere and yet even at over 6 minutes, it never gets dull.


I love that Kurt does most of the musical heavy lifting even on the acoustic, with Lassko providing the rhythm.


He’s very funny between songs.  This son is from my new album as well.  It’s called “A Working Class HEro is Something to Be” but, uh, also “Loading Zone.”


“Loading Zones” is a faster song which feels like it’s going to overtake itself at some point.  The totally relaxed harmonica (I’ll give John Popper a run for his money…as usual)and his laconic delivery of I park for free is a wonderful contrast.


For the final song “Tomboy” his switches guitar and jokes, “this song’s about John Popper.’  I love this song with its beautiful guitar lines and his halting vocal delivery.  Again, a wonderful juxtaposition of styles, which the blurb addresses:


Kurt Vile exudes a casualness at the Tiny Desk in his style and body language that is so unlike most anxious artists who come to play behind my desk. …The way he plays guitar, he seems distracted, yet the complex guitar lines he so nonchalantly plays, along with his musical mate Rob Laakso, are effortlessly beautiful and lyrical.


On the surface, it all can seem just chill. But there’s a lot of rumination in these songs — and even when he’s gazing into the overhead office lights, I think he got his mind on the stars and the world at large.


Imagine how good he is live when he switches between seven or eight guitars (and banjo).


[READ: February 4, 2019] “Asleep at the Wheel”


I really hope this is an excerpt because I want to read a lot more.  Plus there’s a lot going on, not all of which is resolved.


Set in the not too distant future (I fear), technology has taken over more than it has now.  Cindy is driving a self-driving, cognizant vehicle named Carly.  It not only tells her which way will be fastest, it also reminds her about a purse she wanted to pick up (which is now on sale).


In fact, there are no non-automated vehicles anymore–except in race tracks and in the desert.  There are ad-driven free cars called Ridz that take you to your destination after stopping by a few of the stores you like to shop at first.  Some daredevils even try to hop on automated cars –they ride on the roof–despite the dangers–and go as far as they can.


One such daredevil is Cindy’s son.  While he is riding on top of a car he sees his mom in the car next to him.  He is sure he’s busted until he sees that she is napping. (more…)

					
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Brian Posehn–Forver Nerdy: Living My Dorky Dreams and Staying Metal (2018)

					

					Posted in AC/DC, Anthrax, Autobiographies, Babysitters, Brian Posehn, Death, Death Angel, Def Leppard, Drinking, Drugs, Film & TV, Funny (ha ha), Horror, Hospitals, Humiliation, Iron Maiden, Kentucky Fried Movie, Kiss, Kiss Meets the Phantom/Attack of the Phantoms, Memoirs, Metallica, Mr. Show with Bob and David, Music, NewsRadio, Nostalgia, Ozzy Osbourne, Peter Benchley, Religion, Rob Zombie, Rush, Seinfeld, Set at School, Sexism, Slapshot, Star Wars, Technology, Testament, The Devil's Rejects, Van Halen, Y&T on February 10, 2019|
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SOUNDTRACK: Y&T-“Mean Streak” (1983).


In the early 1980s Y&T had a couple of albums that made it onto my radar.   This one, Mean Streak, had this song which I liked enough. It’s got some cool riffs and Dave Meniketti’s raspy but distinctive voice.


I remember liking this song, even though I really had no idea what was going on in the lyrics.  The chorus where everyone sings “mean streak” behind his lyrics was certainly the catchy selling point.   But this is hard rock more than metal and is not really my thing.


I may have bought this album, but I know I have the follow up In Rock We Trust, which was more poppy (and they were more pretty).  I had forgotten all about “Lipstick and Leather” yet another cheesy pop metal song about, well, lipstick and leather.


People who were fans of Y&T (like Posehn) were die-hards, but even listening now I see why I never really got into them, even if I liked them for a bit.  Maybe it was a California thing.


[READ: January 2019] Forever Nerdy


S. got this for me for Christmas after we saw Posehn on a late night show and he talked about his nerdy obsessions, including Rush.  It seemed like an obvious fit.  And it totally was.


Posehn is a few years older than me, but if he had lived in my town we would have totally been friends (except I would have never talked to him because he was older).  Anyhow, we had more or less the same obsessions and the same nerdy outlook.  Although I was never really picked on like he was so perhaps I was a little cooler than he was.  Although I never smoked or drank when I was in high school so maybe he was cooler than me.


Things to know about before reading this–Posehn is a vulgar dude–there’s not much kid friendly is in this book.  Also this book isn’t really an autobiography exactly. I mean it is in that he wrote it and its about him, but if you were dying to find out fascinating stories about his crazy life, this book isn’t really it. I t’s more about the things he was obsessed with–in true nerdy fandom.


Although, Brian, what nerd doesn’t have an index in his own book? (more…)

					
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David Astle–Cluetopia: The Story of 100 Years of the Crossword (2013)

					

					Posted in Arthur Wynne, Bill Clinton, Crossword Puzzles, David Astle, Dip-in Books, Eugene Maleska, Frank Longo, Jeremiah Farrell, King Gizzard and the Lizard Wizard, Language, Leonard Dawe, Lindsey Browne, M*A*S*H, Oulipo, Political Humor, Politicians, Puzzler, Simon & Garfunkel, Simon and Garfunkel, The Beach Boys, The New York Times, The Telegraph, Will Shortz, Word usage, World War II on February 8, 2019|
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SOUNDTRACK: KING GIZZARD AND THE LIZARD WIZARD-Oddments (2014).


After the psychedelia of the previous album, KGATLW released this varied collection of songs.  Indeed, none of the 12 songs sound anything like the others.  It’s hard to say if this is a collection of leftover songs or an attempt to make a varied record.  After all, they had released four and a half albums in three years.


Nothing is really more than 3 minutes except “Work This Time.”  Everything goes by so quickly it’s hard to know what to think.


“Alluda Majaka” opens this record with an instrumental that has every style of music thrown into it–funky bass, organ, Indian music, there’s also sound effects and clips from a movie or two and really loud drums.  It’s a crazy opening for a crazy album.


“Stressin'” slows things down with a falsetto vocal and a gentle groove including a warbly wild guitar solo.  It’s followed by “Vegemite,” a nonsensical ode to vegemite with a great beat and an easy to sing along chorus (sung by Ambrose, I believe): Veg-e-mite…I like.


“It’s Got Old” is slower simple rocker (complete with flute and handclaps) and somehow is followed by the trippy, synthy swirls of “Work This Time.”  It opens with a rumbling wild drum intro and then becomes really gentle with more soft falsetto vocals.


“ABCABcd” is 17 seconds of garage rock nonsense before the sweet rocking acoustic guitars of “Sleepwalker.”


“Hot Wax” sounds like an old(er) KG garage rock song.  There’s creepy vocals from Stu and a simple riff and a chorus that literally repeats chorus from “Surfin Safari” but with their own muffled, fuzzy garage rock chords.  “Crying” has an old soul sound with its simple three note melody.  It even has spoken word parts (the way you act, girl) and everything.


The end of the disc throws in even more craziness in the last five or so minutes.  “Pipe Dream” is a one minute instrumental that doesn’t really do anything except evoke a psychedelic moment.  It fades out just as a riff begins.  But it’s not the riff to “Homeless Man in Addidas” which is a quiet acoustic folk song that sounds an awful lot like “April She Will Come” by Simon & Garfunkel.  The disc ends with “Oddments,” a 25 second piece of silliness that’s like a commercial for the disc which even chants out the disc name.


Unlike their more cohesive albums, this is not a necessity exactly, but it is a fun opportunity to see just how much KGATLW can do in 30 minutes.


[READ: November 2018] Cluetopia


This is a brief history of the crossword puzzle as broken down by year.


David Astle (whose name must be a crossword answer) is a crossword maniac.  What makes this book especially interesting to me is that he is from Australia, which means he has a very different perspective on the crossword puzzle than someone like Will Shortz.  For there is a great American/British (and Australian) divide when it comes to crosswords.


Astle is a huge fan of British-style cryptic puzzles and he really delves into some of the best ones over the last century.


A neat summary of the different types of puzzles comes from Always Puzzling: (more…)

					
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Antoine Revoy–Animus (2018)

					

					Posted in Antoine Revoy, Death, First Second :01, Graphic Novel, King Gizzard and the Lizard Wizard, Supernatural, Superstitions, Surreal, Violence on February 7, 2019|
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SOUNDTRACK: KING GIZZARD AND THE LIZARD WIZARD-Float Along-Fill Your Lungs (2013).


In 2013, KGATLW released a Western narrative record and this record which opens with a 16 minute psychedelic epic called “Head On/Pill.”  It’s got everything, including a sitar.


There’s a cool, simple riff that lends itself to some groovy jamming.  After 3 and a half minutes the song takes off in a rocking/psychedelic avalanche of sounds.  Around five minutes it settles into a two note sing/play along.  By 7 and a half the sitar is back and the two-note melody has expanded somewhat.  By ten minutes its just bass and drums before the band starts to rebuild the song again.  It’s a very cool exploration of a style that the band hadn’t really toyed with before.  And it would really go on to define one aspect of the band (minus the sitar).


The rest of the album is largely shorter tracks.


“I’m Not a Man Unless I Have a Woman” is a weird little nugget with a soul feel and falsetto vocals.  But with sitar and harmonica.


For the first minute or so of “God is Calling Me Back Home” its sounds kind of goofy and lo-fi.  It’s just a guitar and lots of vocals.  But after a minute, it rocks out with full distortion.  It’s a wild ride for a couple of minute before it degenerates into just feedback and noise by the end.


“30 Past 7” is slower with sitar and a soaring psychedelic feel.   While “Let Me Mend the Past” has a classic Motown sound with piano and falsetto vocals from Ambrose.  Keeping with the jumping around, “Mystery Jack” is a short, fuzzy, garage rock song.  Then comes “Pop In My Step,” which was created by guitarist Cook Craig.  It’s a simple poppy song with fuzzy guitars and a trippy synth.  The middle has a very cool riff that separates the parts.


The disc ends with “Float Along – Full Your Lungs” which returns to the psychedelia.  This song is shorter but even wilder with the sitar and trippy sounds. It’s a fantastic bookend to this wild collection of songs.


[READ February 7, 2019] Animus


This is a creepy story set in Japan.


It opens on a police detective discovering that yet another child has gone missing.  That makes 40.  Luckily the press hasn’t gotten word yet so there’s no general sense of panic, just upset parents and frustrated police.


We cut to two kids in a playground.  A boy playing with a soccer and a girl reading.  It gets dark and the kids are still there.  When the boy kicks his soccer ball, another child, a boy in a mask, shows up and kicks it into the sandpit.  The boy yells at the strange kid and goes for his ball.  But when he steps in the sand, it turns to snakes and the boy runs off.  The girl gets angry at the kid in the mask.  She acts very mature with him and she goes for the ball.  But when she walks in the sand, arms reach out and grab her.  She grabs the ball and flees while the kid in the mask laughs.


The next day the kids return to the park to talk to the weirdo in the mask (in the daytime).  He says that nothing that happened was his fault–it was all the park.  The sand pit shows your greatest fear, the swings show you other people’s dreams and the statues of animals are the ears of the area…they hear everything.  Then he reveals that he was taken from this world a long time ago.  He was buried and never found and now he must haunt this area until he is freed.  His name is Toothless. (more…)

					
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