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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–Captain Marvel: Alis Volat Propriis (2015)

Posted in Adventure, Aliens, Bilal, Brass Heaven, Captain Marvel, Completed Series, David Lopez, End of the World, Fears, Graphic Novel, Huh?, Jeff Bradshaw, Kelly Sue DeConnick, Questlove, Regrets, Superheroes, Supernatural, The Roots, Threats, Time Travel, Tiny Desk Concert, Violence on November 8, 2017| Leave a Comment »

SOUNDTRACK: THE ROOTS-Tiny Desk Concert #665 (October 30, 2017).

This Tiny Desk starts out with The Roots walking into the area, sousaphone playing a fun riff and everyone clapping.  Questlove takes his seat behind the drums.

He introduces: This is Jeff Bradshaw and Brass Heaven.  Let’s get into it.”  They play a great big dancing brass melody singing “Just give me some more.”   There’s a fun trombone solo which starts with him playing a really long note and bending it and then just going to town.  It’s very James Brownish and utterly belies the intensity of the next song.

After 3 minutes they switch tempo completely and Bilal and Black Thought come out.  They play “It Ain’t Fair,” a thoughtful, powerful piece that I absolutely love.  I was unfamiliar with Bilal before this and his delivery is just fantastic.

He sings with a classic 70s style of raspy intensity.  There’s a great chorus: “the well is running dry / racial tensions running high / under 21 is far too young to die.”

The song builds up somewhat and then Black Thought raps a harsh counterpoint.

Justice is never color blind, never gun shy
For one crime, you may never see the sun shine
We know of one times, giving you the finger
’round hearing me, fuck you, it’s not the number one sign

then its back to Bilal

Some people say, “Let Jesus take the wheel”
Others say, “Thou shall not kill”
But that old time religion ain’t gon’ pay my bills

At the four-minute mark the whole band just goes nuts playing a cacophony of sound and then stopping silent at Questlove’s direction.

When they start Bilal absolutely wails the final verse.  It is utterly fantastic (and I think better than the performance on Fallon with the full orchestra).

Armed with the incredible vocalist Bilal, The Roots performed the signature track from Detroit, a film about the race riots in 1967. “It Ain’t Fair” glares unflinchingly, takes a knee and raises a fist against the societal construct that has systematically denied equality of experience to those “presumed inferior,” to quote one of Bilal’s verses. And it achieves all this while covering its heart with its right hand. This reflective hymn tenderly yanks your heart strings and offers a window into the ethos of those who would like to stand for the flag but cannot in good principle, lest these same evils continue to exist.

Those lucky enough to be in the Tiny Desk audience witnessed masters at work. Black Thought is truly one of the most intelligent emcees ever, and his razor-sharp lyricism was on full display. Questlove, a musical and cultural historian nonpareil, was both a metronomical and moral anchor. It felt like the culmination of decades of academic rigor and boom-bap sessions, fittingly backed by a seven-piece horn section. Bilal’s falsetto-laced vocals and warm resonance evoked powerful messaging reminiscent of Curtis Mayfield’s “Don’t Worry,” delivered with the eccentricity of Prince.

The band: Curtis L. Jones Jr (Trombone), Arnetta Johnson (Trumpet), Hiruy E. Tirfe (Sax), Richard L. Tate II (Sax), Joseph Streater (Trumpet), Norman J. Bradshaw (Trombone), Damon Bryson (Sousaphone), Ahmir (Questlove) Thompson (Drums), Tarik (Black Thought) Trotter (Emcee), Bilal Oliver (Vocals)

[READ: April 19, 2017] Captain Marvel: Alis Volat Propriis

The previous book in the series was pretty goofy.  So I was pleased that this final book was a bit more intense.  The title is the motto of the state of Oregon (probably not why it was used).  It translates as “She flies with her own wings” (which probably is why it was chosen).

As the book opens, Lila and Carl transport to her ship.  But once again something is amiss.  Harrison is offline totally and there are aliens closing in.  It is only through some quick thinking they are able to escape them until they can flee.

When full power is restored, Carol and Harrison decide to find out where Tic and Chewie are.  The baddies have a head start, but they take a shortcut through “The Endless Envelope.”  Once they get in this pocket they realize that it is bigger on the inside than the outside and their shortcut will take five times as long to traverse.  They encounter enemy ships and a phenomenon called a Warp Bear.  There’s some good humor in this section in which Carol tries to communicate with Harrison the ship. (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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David Wiesner & Donna Jo Napoli–Fish Girl (2017)

Posted in Children's Books, Corals, Donna Jo Napoli, Fish, Graphic Novel, Mermaids, Neptune, Octopuses, Tiny Desk Concert on November 6, 2017| Leave a Comment »

SOUNDTRACK: NATE SMITH + KINSFOLK-Tiny Desk Concert #667 (November 3, 2017).

Nate Smith is a jazz drummer, although much of the music in this Tiny Desk is quite rocking.

The jazz is evident in the complexity of the tunes.

Just try to discern the multiple time signatures in the first tune, “Skip Step” Syncopated yet steady, its rhythmic motifs bolster Jon Cowherd’s keyboard riff and the song’s melodic statement, played in unison by saxophonist Jaleel Shaw and guitarist Jeremy Most.

The song opens with a great chugging riff on the bass (Fima Ephron) and guitar.  The keys play a drifting melody as the sax take over a solo (followed by the guitar).  Smith’s kit is fairly small but he makes great use of the various drums, putting in all kinds of interesting rhythms.

The quintet slides right into “Retold,” a beautiful song with a nostalgic melody that suggests a quiet moment for personal reflection and self-discovery.

This song instantly feels more jazzy because of the lead saxophone.  The drums are primarily cymbals (and brushes) and a lot of keyboard soloing in the middle.

After that song, Nate introduces the band and then says, “Jeremy noticed–the desk is not that small.  I was expecting a smaller desk.  I don’t know how I feel about his.  But I’m going to move past that because it’s not about me.

On the next song, “Pages,” Smith welcomed vocalist Amma Whatt to the “stage.” She wrote the lyrics for Smith’s 2017 album Kinfolk: Postcards From Everywhere.  I don’t care for this song as much.  Her vocals are a little too R&B for me (and I don’t like soprano sax).

It’s a very gentle song, though and probably fits nicely into the album.  It’s followed up by the final tune, “Rambo: The Vigilante” which he describes as “it’s short but it’s angry.”

Hypnotized by its shifting time signatures, this fusion jam is punctuated with a haunting rock lick played simultaneously by the entire band, and seamlessly aligned with Smith’s dazzling display of dexterous genius.

Smith’s drumming is phenomenal on this track–with lots of action on the high hat and some fast drumming on the bass and snare.  It’s not all fast though, there is a mellow middle section with gentle keys and a mellow sax solo.

I do like jazz with crossover appeal, and this certainly has it.

[READ: March 21, 2017] Fish Girl

David Wiesner has drawn some of the most gorgeous picture books ever.  And several of those books don’t have any words–they are just amazing stories, beautifully told and wonderfully illustrated.  Seriously, look up Sector 7 and Flotsam and be blown away.

Well, his pictures are in full force here (I recognized his octopus immediately).

This is his first graphic novel and his first pairing with Donna Jo Napoli (who I am unfamiliar with).

The story is a fairly simple and fairly familiar one, but they have put some wonderful twists into it.

In a building on a pier is Ocean Wonders.  It is a fully functioning aquarium inside a small warehouse.  On the outside is a big sign that says “see the mysterious Fish Girl.”  As the story opens, there is a narration by Neptune, god of the seas and storms.  He tells the spectators that in every room of this house you will see the most amazing creatures of his kingdom. (more…)

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Barry Deutsch–Hereville: How Mirka Caught a Fish (2015)

Posted in Adventure, Barry Deutsch, Children's Books, Decadence, Demons, Gracie and Rachel, Graphic Novel, Religion, Short Books on November 5, 2017| Leave a Comment »

SOUNDTRACK: GRACIE AND RACHEL-Tiny Desk Concert #666 (November 1, 2017).

Who are Gracie and Rachel?

They are Gracie Coates the primary singer and keyboard player and Rachel Ruggles on a violin processed through various pedals.  The two Berkeley California high school friends are now New York loft-mates. Together with percussionist Richard Watts, a huge bass drum, and electronic drum pads, the group mixes classical training with pop hooks, and curiosity with uncertainty.

The complex tunes they beautifully reproduced in this thrilling Tiny Desk performance are from the group’s debut, self-titled album released back in June of this year.

All three of the songs have the same basic style and tone–rather intense–somber piano with soaring strings and Gracie’s interestingly delivered vocals.

“Only A Child” stars with a simple piano riff that has a real sense of uncertainty, almost menace.  I can’t decide what she’s doing with her vocal style but it’s certainly unique.  There’s some backing vocals although I can’t quite tell where they’re coming from (live or prerecorded) and they add a really creepy tone.    And then there’s the lyrics:  “I’m moving my mouth but I don’t say a word/My ears are open but nothing is heard/I’m only a child, only a child.”  But really the way the violin plays that descending mellow is absolutely captivating.

“Go” features the big bass drum which I didn’t even see at first.  This one has ringing piano notes and pizzicato strings.  The violin is primarily fast notes until the middle when she slows things down and it takes on a very different tone.  The middle features just a simple piano note repeated along with the women’s voices.

Before the last song she says, “I really wanted this moment to say something fun but I realized that our music isn’t very funny.”

And she’s right.  The music is sharp and inquisitive.  It’s not fun, but it’s very good.

“Don’t Know” has the pointed lyric: “And when did it become alright for you to take our rights and when did we decide to give away the life that we live today?”  There’s more sinister piano but there’s these interesting trills on the violin (and backing vocals) that float above the music.  It’s really some great and enticing music.

[READ: February 15, 2016] Hereville: How Mirka Caught a Fish

I really enjoyed the other two books in this series, and the tagline “Yet another 11-Year old time-travelling Orthodox Jewish babysitter” let me know I’d be in for more of the same fun.

Mirka is the 11-year-old orthodox girl.  Her mother died when she was young and her father remarried.  She has a brother and two step-sisters.  Her step mother is tough but fair (sometimes).  And they live very distinctly Orthodox life–Non Orthodox Jews are called moderns.  We learn a bit about Orthodox culture–there are lots of Jewish phrases with translations at the bottom, and little cartoon which show that unmarried women keep their hair long, while married women cut it short or shave it and wear a wig called a snood.

Right now the crisis in Mirka’s life is her six-year old step-sister Layele.  Mirka is going to babysit Layele for a couple of days.  Just as the adults leave, Fruma mentions having seen something in the woods–but stops herself before she can reveal anything.  This of course only sets Mirka’s mind in motion and she immediately defies orders and goes into the woods with Layele. (more…)

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Shannon Hale & Dean Hale–The Unbeatable Squirrel Girl (2016)

Posted in April Wine, Babies, Babysitters, Canadian Music, Captain Marvel, Dean Hale, Harlequin, Iron Man, Ms. Marvel, NoMeansNo, Pablo Neruda, Set at School, Set in New Jersey!, Shane Koyczan, Shannon Hale, She-Hulk, Smells, Squirrel Girl, Squirrels, tagged on November 4, 2017| Leave a Comment »

SOUNDTRACK: RHEOSTATICS-Sugar, Victoria BC (November 17, 2005).

Lucky’s Notes: [Lucky recorded this show and gets a song dedicated to him]:
This was to be the last time the Rheos played in Victoria, though we had no idea at the time. We will all really miss you guys out here!!

Given that information, it’s particularly sad when they say, “we’ll see you hopefully in the spring.”  But despite that future sadness, the show itself is great.  It begins with a wonderful “Easy to Be with You” which sounds terrific: the “do da” part is really rich in harmonies.

It’s followed by a quite raw “CCYPA” and then a fun, romping “Garden” which ends with: “Hugh Syme’s dance party for your pleasure”–Martin making an electronic racket with his guitar.

“Fat” has some interesting echo on Dave’s voice that I wonder if it could be bouncing off the room or not.  The “don’t even know who you are” is pretty wild with many different vocal from the guys.  It’s a great version overall–the bands is really into it.  Having more fun with “PIN” Dave seems to be really enjoying himself with the backing vocal nonsense.

Dave says, “It’s great to be here in Victoria, the Queen’s city, once again.”  When they start the poppy and delightful “Mumbletypeg,” Martin acknowledges “the amazing rhythm guitar playing of Dave Bidini.  Very rhythmic.”

“We’d like to thank Shane Koyczan for opening tonight–one of the sexiest men in Canada–another Neruda.”

“Marginalized” sounds great–dark and angry with a lot of echo on Tim’s voice.  That sounds weird but cool.  There’s a quiet middle section where Dave is playing a gentle acoustic and Tim is keeping that bassline.  It goes on and then the final verse is sung quietly with little accompaniment.

Someone in the crowd shouts “Record Body Count,” and Dave says “yes we got records, what about it?”

But Tim says, “we’ll do another apocalyptic number for you.”  They play “Here Comes the Image” with lots of great synth from MPW including an awesome solo.  Some really cool backing vocal from Martin make this one of the best versions I’ve heard.  Then MPW sits back at the drums: “good now I can relax.”

“Christopher” starts with an interesting guitar chord structure intro before they get to the song proper.  There’s an intense soloing section and a terrific quiet ending.  It’s followed by “King of the Past.”  It’s not my favorite version of it but there’s a lot of interesting stuff going on in it.  It’s followed by a wild “Rock Death America.”

When they get to “Satan is the Whistler” Dave says they’re going to try this one “coz we hope to play it [well] in two days in Vancouver.”  Martin sings some verses pretty slowly and then later he plays the fast part much more slowly and sloppily than usual.

He also adds to these lines:

bouncers came and snuffed the fucking fire out / there’s no smoking in the parking lot / “I hate this fucking place” / some punks in the windy peaks

After the song Dave concurs: “You gotta keep those parking lots clean.  For parking.  And loitering.  Gas huffing [Martin: “pathetic addicts”] nefarious activities.”

“Claire” is a little sloppy from everyone, even Tim’s singing is a bit mumbly.   But there’s a great long solo from Martin.  Martin continues the solid work on “California Dreamline which is slow and trippy with lovely weird keyboards.  While singing, he whoops after “sand in my tequila” and rolls his r’s after the “escondido” part.

The song segues into what sounds like “Horses” with Tim chanting “do it do it do it do it ; do it do it don’t you do it” but then Martin plays a rocking guitar for the intro of “Feed Yourself.”  It is noisy and aggressive and amazing, perhaps the best version of this song I’ve heard.  They play a riff of “Hey Hey, My My”  then Dave starts getting really intense: “what’s in his head?”  he starts screaming “open it up.  “Look inside.”  (The loudest screaming I’ve heard him do).  The intensity is undermined somewhat by Tim’s ending backing vocal of “trunk trunk… what ‘cha gonna do with all that junk / all that junk inside that trunk.”

They go for an encore break and Dave says, At this point in the gig Martin usually has a cigarette, so I felt required to write a smoking song.  It’s a new song about Martin smoking.  It’s called “Smoking Song,” but how on earth is it about Martin smoking when he references Joseph Stalin and Hitler?  he doesn’t say, but when it’s over, he says, “uh oh looks like a 2 smoke break.  He might never come out.” so they play “My First Rock Show.”  During the first verse, Dave stops and asks, “What’s so funny sir?  That must have been the laughter of pure joy.”  You can’t hear what they’re talking about, but Dave mentions NoMeanasNo and agrees that “they sent a lot of us on the wrong road.  In the best way.”

When Martin arrives, Mike asks, “Where to, lads?”  After some mumbling, you hear Mike say “boogers?”  Dave says “vetoed! songwriter gets veto.”  He then says they “support the locked out Telus workers.  Telus is the shittiest service. They just got so big and fat there sitting on themselves.”  More quiet discussion then Mike says “that’s good, Martin you had a smoke and now you’re asserting yourself.”

Perhaps they agreed to the earlier request, because they play “Record Body Count” which sounds great.  When the song is more or less over, Martin starts playing a riff and begins singing “I’ve Been Thinking of You” and the crowd cheers.  They jam that song and afterwards, Martin says “What was that song we did in the middle was it April Wine or something?”  No one knows.  It was a band called Harlequin.

Dave says, “We were in Nanaimo last night.  Home to two of the greatest record stores.”  Someone shouts: “Home of the Nanaimo Bar.” To which Dave replies: “Home of the Naniamo Bear.  That bear likes them dead salmon.”

They play “Making Progress” which opens with a buzzy staticky guitar and big echo on Tim’s voice.  When they get to the synth part it’s all messed up and someone apologizes, saying “don’t let me near that thing again.”  Then it gets fixed and the synth is back on.

They end the show with “Dope Fiends.”  There’s a big echo on Martin’s voice.  Someone else sings some great falsetto along with him.  During the slow part, Dave stars singing “Legal Age Life” but the music doesn’t change–it’s rather disconcerting but cool.  The melody starts playing a keyboard that sounds like “Norwegian Wood” and at the end Tim does backing humming to “Norwegian Wood” before Martin’s loud and wild guitar ending.

Despite the odd echo, it’s a really great show.  The band sounds in great form and they are having a really good time.  It’s hard to believe they broke up so soon after this.

[READ: February 15, 2017] The Unbeatable Squirrel Girl

Sarah and I have really enjoyed the Squirrel Girl graphic novels.  She was really excited to see this actual novel about Squirrel girl from Shannon Hale.

This book is part of the Marvel Universe.  And what I’ve learned recently is that while I enjoy the Marvel Universe, I far more enjoy the peripheral characters of the Marvel Universe–like those of S.H.I.E.L.D. (even if I don’t watch the show anymore–it got a little crazy).  So I find myself enjoying Ms Marvel and Guardians of the Galaxy and now Squirrel Girl–characters who reference The Avengers but are not actually part of the team.

There’s some thing so much more enjoyable about these characters where the stories can have fun of the major Marvel figures.  And this one has a ton of fun with that conceit. (more…)

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Ryan North & Erica Henderson–The Unbeatable Squirrel Girl: Squirrel Power (2015)

Posted in Barenaked Ladies, Canadian Music, Erica Henderson, Falafel, Funny (ha ha), Graphic Novel, Hulk, Iron Man, Meta, Rheostatics, Ryan North, Squirrel Girl, Squirrels, Steve Ditko, Superheroes, Supernatural, Technology, The Tragically Hip, Will Murray, tagged on November 3, 2017| Leave a Comment »

spowerSOUNDTRACK: RHEOSTATICS-Stan Rogers Folk Festival, Canso, NS (July 3, 2005).

stanBack in 2005, the Rheostatics played two days at the Stan Rogers Folk Festival. The first day’s show was a kind of mash up of the Rheostatics and other bands.  Indeed, the recording includes some other artists along with the Rheos.

This second day it was apparently raining.  But it’s just the Rheos doing their best folk band impression, but not being afraid to totally rock out.

The recording opens very echoey and with a woman who is having a different kind of fun screaming quite a bit really nearby.  But after a minute or two, I assume the recording device is moved because you can no longer hear her. It’s jut Martin singing “California Dreamline.”

“Fan Letter to Michael Jackson” is particularly rocking, especially the “Michael!” part.  It’s a great version of the song, with lots of interesting bass work from Tim.  The whole band seems really into it.

Dave says, “The first European settlers stopped at Guysboro so we feel honored to do the same.  I went to the cairn…. I read the cairn.”

Mike: “Was the plaque about golfing?”

Dave: “No, it was about settling by the Mi’kmaq.”

They play a terrific, rocking “Marginalized,” a song that they seem to always play great.  It’s followed by a grooving intro to “Horses.”  Dave is really into it and the song ends really really loud and aggressive for a folk festival–Dave is screaming.

It’s followed by a terrific “Stolen Car.”  The “Kill a cop” line is really intense with a big drum roll.  And Martin is in great form throughout, especially that ending “drive away” section.

Mike: Thanks, we’ve got one more for you
Martin: Thanks, we’ve got one more for you
Dave: As a great man once said, Thanks, we’ve have one more for you

After all of that intensity, they end with a slow, pretty “Making Progress.”  Martin says, the composer of this next number in the middle: Timothy Rabbit Warren Vesely.  So that’s two songs by each singer.  As the song ends, Martin plays some interesting echoing guitar lines as the other guys leave.

The announcer says: “Rheostastics.  These guys were nominated for 3 Junos and one Genie and the Barnenaked Ladies and The Tragically Hip are constantly singing their praises and we got to hear them tonight.

[READ: April 25, 2017] The Unbeatable Squirrel Girl: Squirrel Power

This is the reboot of The Unbeatable Squirrel Girl.  This edition collects issues 1-4 and a special comic from Marvel Super Heroes #8.

For the reboot, Erica Henderson has re-imagined the appearance of Squirrel Girl from the rankly really creepy and ugly early version (as seen in the Marvel issue included) into a new much cooler looking hero.  Although I find her face really distractingly strange-looking.  I suppose it’s meant to invoke a squirrel somewhat, but since I read the Shannon Hale book first, I imagined her looking less odd.  But I have since gotten over that and I find her personality is too great to care.

There are several things I love about this story line.  It is so very funny.  Every bit and piece is great.  I also love that she is, as her name suggests, unbeatable.  This is not a spoiler exactly, but she really can’t be beaten–it’s pretty great.  I also love that there is running commentary along the bottom of the page (essentially the footnotes).  Sadly in some issues it is really hard for these old eyes to read, but if you can read them, they are worth it.

But really it’s the tone that I love,  It’s so lighthearted and fun.   (more…)

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Ryan North–The Unbeatable Squirrel Girl Beats Up the Marvel Universe! (2016)

Posted in Canadian Music, Funny (ha ha), Graphic Novel, Hulk, Iron Man, Meta, Rheostatics, Ryan North, Squirrel Girl, Squirrels, Superheroes, Supernatural, Technology, tagged on November 2, 2017| Leave a Comment »

SOUNDTRACK: RHEOSTATICS-Sam The Record Man, Toronto. ON (November 13, 2004).

The Rheostatics played live at Sam The Record Man in Toronto, during the afternoon of the 3rd night of their 10 night Fall Nationals run at the Horseshoe.

The recording level is really quiet.  In fact the first track called “crowd” is virtually all silence.  I gather they were supposed to start earlier but Martin was delayed.  So they eventually note: “we’ll press on in absentia.”

Dave continues, “We’ve given martin 50 [or 15, I hope] minutes.  He’s a in a cab so it’s just the three of us.”

Just as they start, the store announcement is made to join everyone in the video room for the show.

Without Martin, they play the more acoustic songs.  “Little Bird” sounds great, and as he begins “My First Rock Concert” he says,”This is ironic.  This song… many of the events happened not too far from here.”

“Marginalized” sounds really different without the rough guitar.  The bass is funkier and the overall song is much more acoustic.  It’s a little unnerving.

And then Martin arrives: “Ladies and gentlemen, Mr George Jones.”

Dave: “Okay we are complete.”

Martin: “I made the mistake thinking I could hail a cab and they decided not to exist.”

Dave: “Nobody’s buying that, Martin.”

Tim: “I think you have to get out of bed to hail a cab, they don’t see you in bed.”

Michael: “It was international ‘Don’t pick up Martin Tielli on the street day.'”

Introducing “Power Ballad for Ozzy Osbourne,” Dave says, “This is a song we were commissioned by Health Services Canada to write for their 2004 testicular awareness program.”  After the song, “That song is from our new album 2067, on sale for the remarkable price of $9.99.  Back to 1978 prices.”  he remembers back to the “Old Sam’s Boxing Day–not to sound like a big old geezer or anything but….  you could get 14 albums for… $9.99 in the late 80s.”

In the opening section yo can hear some kids talking and chatting.  I wonder if it’s Dave’s kids.  When “P.I.N.” starts, someone says it’s a “Big toy throwing number.”  Martin’s voice is strained and crackly.  The whole song feels a little restrained.

Dave introduces “Easy to be With You” as from “our psychedelic children’s album.”

Martin still sounds a little rough during “Christopher.”  He speaks the first line and kind of flubs a later line.  It’s followed by “Horses” which is acoustic and rollicking but not too intense.

Martin’s voice breaks a bit and he seems to mock himself on “Saskatchewan.”   It’s really unusual to hear this as an acoustic number and he sounds kind of aggressive during the “farm and the work to be done” line.

It’s not an especially great show, but it is an interesting peek at the band during the day.

[READ: May 1, 2017] The Unbeatable Squirrel Girl Beats Up the Marvel Universe!

Amid all of the Unbeatable Squirrel Girl books (there are currently 6), done by Ryan North and Erica Henderson, this book is a one-off and is considered  graphic novel unto itself.   I don’t entirely understand why it is done as a single book rather than as part of the series, but I don’t really care, because it’s great.

Of course, the title is confusing as all get out, right?

Well, as the book opens, we see that the main characters are going to be Doreen Green aka Squirrel Girl, Nancy Whitehead (Doreen’s roommate with no special powers (boo)), Tippy Toe (Doreen’s faithful squirrel sidekick), Ken Shiga, (Koi Boi), Tomas Lara Perez, Chipmunk Hunk and, The Rest of the Marvel Universe. (more…)

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Raina Telgemeier–Ghosts (2017)

Posted in Conchas, Culture Shock, Death, Dia de los Muertos, Fog, Food, Funny (ha ha), Ghosts, Graphic Novel, Halloween, Illness, In-N-Out Burger, Natalia Lafourcade, Raina Telgemeier, Supernatural, Tiny Desk Concert, YA Books on November 1, 2017| Leave a Comment »

SOUNDTRACK: NATALIA LAFOURCADE-Tiny Desk Concert #664 (October 27, 2017).

I’d never heard of Natalia Lafourcade , so here’s what the blurb says:

Natalia Lafourcade is a successful singer-songwriter whose voice and music live on the edge of pop, but maintain a distinct independence.

A few years ago, while Lafourcade was traveling Brazil, she felt a great nostalgia for her native Mexico and its folk music. When she finally returned home, she immediately called some friends for the kind of party that is ubiquitous in Latin America: lots of social drinking, lots of food and lots of guitars and singing. Classic folk songs were on the playlist and a good time was had by all.

Someone recorded the informal jam session and Lafourcade’s management team heard the tapes. “This is your next record!” they told her.

That record, Musas: Un Homenaje al Folclore Latinoamericano en Manos de los Macorinos, Vol. 1, [Muses: A Tribute to Latin American Folklore in the Hands of the Macorinos, Vol. 1] was a commercial and critical hit, and received a Latin Grammy nomination for Album of the Year. It only made sense for Lafourcade to bring her Musastour to the Tiny Desk. The performances are an ode to a magical time in Mexican popular music, one that is revived with every note this singer and her band perform.

Los Macorinos are Ernesto Anaya (traditional Mexican guitar), Uriel Herrera (drums) and Jorge Molina (double bass).

One important historical note: The two older gentlemen on the video are Juan Carlos Allende (acoustic guitar) and Miguel Peña (electric guitar), two revered musicians who played with the iconic ranchera singer Chavela Vargas.

She plays three songs:

Lafourcade has a lovely delicate voice and brings a lot of joy to these songs.  On “Soledad y el Mar,” her voice and all of the acoustic guitars meld together wonderfully.  There’s also beautiful “traditional” harmonies from the players.

“Mi Tierra Veracruzana” was written for her hometown of Veracruz (five hours from Mexico City).  She says “its full of energy and  the beautiful things that I remember about my little town.”  There’s some delightful little acoustic guitar solo runs in the middle of the song that really spice up this delightful song.  I love that there’s also someone there to give a high-pitched aahhhhhhh ha ha!

“Tú Sí Sabes Quererme” its a love song which means You Know How To Love Me.  There’s much chuckling and then she says, when it happens it happens. She plays a small four string guitar.  After running through the chorus for everyone to sing along: “mas o menos, you have to sing as you were very in love with somebody.”  This song really swings and it’s a lot of fun..

[READ: October 27, 2017] Ghosts

Ghosts is a very different story for Telgemeier.

In the past, her stories have been rather personal–taking events from her own life (I assume).

This story mixes some real events (a sister with cystic fibrosis–this is tangentially related to her own life) and fantastical events–ghosts appearing on Dia de los Muertos.  She does an excellent job of linking the two.  Not only because the sister is facing death, but also because the sister needs a breathing apparatus and the ghosts are also “seeking” breath to come alive for the festivities.

As the book opens, we see Kat and Maya in the back seat of the car.  They are pulling out of [not] In-N-Out Burgers and learning that their new home in Bahiá de la Luna does not have an In-N-Out Burger.  This is pretty upsetting, but Kat realizes that they are moving to save her sisters’ life.  Kat will of course miss everything back home, but Maya needs the cool wet climate (the sun only shine 62 days of the year) of their new home. (more…)

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Half-Minute Horrors (2009) [edited by Susan Rice]

Posted in Aaron Renier, Abi Slone, Adam Rex, Adele Griffin, Adventure, Advice, Alice Kuipers, Alison McGhee, Aliza Kellerman, Allan Stratton, Angela Johnson, Art, Arthur Slade, Avi, Ayelet Waldman, Babies, Babysitters, Barry Yourgrau, Birds, Brad Meltzer, Brett Helquist, Brian Selznick, Carol Gorman, Carson Ellis, Cats, Children's Books, Chris Raschka, Dan Gutman, Daniel Ehrenhaft, David Rich, David Stahler Jr., Dean Lorey , Death, Demons, Disneyland, Dogs, Dolls, Erin Hunter, Faye Kellerman, Fears, Francine Prose, Frank Viva, Gail Carson Levine, Gloria Whelan, Gregory Maguire, Halloween, Holly Black, Horror, Jack Gantos, James Patterson, Jenny Nimmo, Jerry Spinelli, John Congleton, Jon Klassen, Jon Scieszka, Jonathan Lethem, Joseph Delaney , Joyce Carol Oates, Katherine Applegate, Kenneth Oppel, Lane Smith, Lauren Myracle, Lemony Snicket, Lesley Livingston, Libba Bray, Lisa Brown, M.E. Kerr, M.T. Anderson, Margaret Atwood, Mariko Tamaki, Mark Crilley, Melissa Marr, Michael Connelly, Michèle Perry, Monsters, Mustaches, Nadia Aguiar , Neil Gaiman, Nightmares, Outer Space, Pantoum, Phish, Poetry, Pseudonymous Bosch, R.L. Stine, Revenge, Richard Sala, Sarah L. Thompson, Sarah Weeks, Short Story, Sienna Mercer, Sleep, Sonya Sones, Spiders, Stacy Godenir, Stephen Marche, Threats, Tom Genrich, Tui T. Sutherland, Vladimir Radumsky, Walt Disney World, Yuck!, Yvonne Prinz on October 31, 2017| Leave a Comment »

SOUNDTRACK: CHILLING THRILLING SOUNDS OF THE HAUNTED HOUSE (1964).

The cover during Phish’s 2014 concert was of this album.

Apparently many people grew up with this record.  I personally didn’t know it, but if you read the comments (don’t read the comments!) on any YouTube clip of the album you will see how popular it is.

Wikipedia describes it as  intended for “older children, teenagers, and adults” released by Disneyland Records (now known as Walt Disney Records). The album was mainly composed of sound effects that had been collected by the sound effects department of Walt Disney Studios. The album was released in several different forms. The album was first released in 1964 in a white sleeve, with a second release in 1973 with an orange sleeve. In both versions, the first side contained 10 stories narrated by Laura Olsher, complete with sound effects. The second side contained 10 sound effects meant for others to create their own stories.

Despite the title, most of the cuts had nothing to do with haunted houses or witches or ghostly spirits. Featured were such situations as an ocean liner hitting rocks, an idiotic lumberjack, a man crossing an unsafe bridge, someone lighting a stick of dynamite and a spaceship landing on Mars. Also, there are tracks with several examples of cats, dogs and birds (similar to “The Birds”) becoming enraged for some reason, as well as a skit about Chinese water torture. In addition, some of the screams were taken directly from the scene where Miss Havisham catches fire in the 1946 David Lean film Great Expectations.

The full track listing is

  • “The Haunted House” 3:00
  • “The Very Long Fuse” 1:28
  • “The Dogs” 1:13
  • “Timber” 1:45
  • “Your Pet Cat” 0:49
  • “Shipwreck” 1:39
  • “The Unsafe Bridge” 1:21
  • “Chinese Water Torture” 2:02
  • “The Birds” 0:46
  • “The Martian Monsters” 1:41
  • “Screams and Groans” 0:57
  • “Thunder, Lightning and Rain” 2:01
  • “Cat Fight” 0:37
  • “Dogs” 0:48
  • “A Collection Of Creaks” 1:54
  • “Fuses and Explosions” 1:11
  • “A Collection Of Crashes” 0:45
  • “Birds” 0:33
  • “Drips and Splashes” 1:18
  • “Things In Space” 0:53

Nothing is especially scary–although maybe for a kid, as many adults claim to have been really frightened by it.  Everything is quite over the top, especially the screams and cat howls and dog snarling.  Even the stories are a little silly, although having them in the second person is pretty genius.

But things like “one night as you lie in your lonely room in your stone hut on the moors…”  (What?).  And the Martian one.  Just keeping with continuity: if “you,” meaning me, went on the trip, then I couldn’t hear the crunching as it ate me.  Or the silly voice saying “I wonder what that was.”

And the less said about the horribly racist Chinese Water Torture the better.  I mean, the opening is bad enough: “The ancient Chinese were a very clever race” but the end of the song is really awful.  But if we can look past that, the rest of the record has fun with sound effects and is generally pretty enjoyable.

During the John Congleton interview, he also talks about this album and says (at 40:28) “the speakers are 180 degrees out of phase to make it sound extremely stereophonic.”  He says now as an engineer it is totally painful to listen to.  Bob says it sounds like it comes from the back of your head.

[READ: October 15, 2017] Half-Minute Horrors.

The premise of this book (edited by Susan Rich) is simple: how scared can you get in 30 seconds?  To me, the answer is actually not very.  I guess for me fear builds over time.  It’s hard to get genuinely frightened over something that just suddenly happens (unless it is just trying to frighten you quickly, of course).

Having said that, I enjoyed this book a lot (look at the list of authors!).  I liked the arbitrary goal of writing a scary story in a paragraph or two (or more).  And some of them were really quite creepy.

I was originally going to point out which ones I felt were the most creepy, but there are so many stories, I kind of lost track.  So instead, here’s a rundown and a brief summary. (more…)

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