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Archive for the ‘Authors’ Category

SOUNDTRACK: VOIVOD-Lost Society (2020).

Voivod have been around for over 30 years.  In that time, they’ve releases only four lives albums.  The first one was from the period when their original and current singer had departed, so that doesn’t really count.  In 2011 they released Warriors of Ice, a live album that featured the reunited original lineup minus deceased guitarist Piggy.  The third was a limited release from the 2011 Roadburn Festival.

Thus, we have this new release to acknowledge the excellence of their 2018 album The Wake.  This show was recorded at Quebec City Summer Fest on July 13, 2019.  I saw them on this tour on April 5, 2019.  The setlist was largely the same, although they played more in their hometown (and I would have loved to see “Astronomy Domine”).

Being in front of a hometown crowd has the band fully energized.  It also allows Snake to speak French to the audience, which is fun.

Most of Voivod’s music is really complicated and difficult (the chords that Piggy and now Chewy came up with are pretty hard to imagine).  And yet they play everything perfectly.  There’s not a lot of room for jamming when the songs are this tight and complex, but it’s clear the band are enjoying themselves anyway.

Since this is touring their new album, the majority of songs (4) are from it with two more songs from their 2016 EP Post Society.  The rest of the set is pretty much a song from each of the albums prior to 1993 (excluding the album with the best name: Rrröööaaarrr).

They interfile the new songs with the older ones, and it feels really seamless.  This shows how much of a student of Piggy new guitarist Chewy turned out to be.

The few times that Snake speaks in English, he says that Angel Rat’s “The Prow” is “time to dance time to party have fun” something one wouldn’t expect to do at a Voivod show, but compared to their other songs, it is pretty dancey.

My favorite Voivod album (aside from The Wake, which is really outstanding) is Nothingface, so I was really excited to hear “Into My Hypercube” and to hear that Rocky’s bass sounded just right.

Their older stuff is a little less complex and proggy so a song like 1987’s “Overreaction” is a bit heavier and straight ahead.

One of the more entertaining moments is during the opening of “The Lost Machine” where Snake stands between Chewy and Rocky and waves his arms to strum the chords first guitar, then bass, then guitar then bass, etc.

It is strange to think that this is only one-half of the classic line up.  In fact, drummer Away is the only person to have never left the band.  I assumed that when Piggy died, there was no point in continuing, but these replacements were really great.

And, Snake makes sure we never forget Piggy.  They end every show with the song that has the same name as the band.  And before they play it, he starts a chant “Piggy! Piggy!”  In this live recording, you can hear the audience screaming along to “voivod,” a nonsensical word that remains strong thirty-five years on.

The setlist for the album is at the bottom of the post.  I sure hope they tour around here again someday.

[READ: April 20, 2021] Infinity Welcomes Careful Drivers

I don’t recall when I started watching Red Dwarf–some time in the 90s, I suspect.  I don’t even know if the show was ever very poplar here in the States, so it’s kind of a surprise that these two Red Dwarf novels even had a U.S. release.  But they did. And I bought them (and read them, I think, although it’s all new to me 30 years later) sometime when they came out.

So Grant Naylor is the cleverly combined names of Rob Grant and Doug Naylor–back when they were working together (I’m not sure why one of them left).   They penned two Red Dwarf books together, then they each wrote a Red Dwarf book separately.

This first one is basically an expanded version of some of the episodes from the first and second season.

Most of the jokes from the episodes are present here–so it’s easy to picture the characters saying the lines.  But there’s also a ton of new stuff.  Much of it fleshes out things that happened in the show, but still other things are brand new.

The book starts with the death of a Red Dwarf crew member.  He is now a hologram and rather than being excited about being alive, he is horrified to think of all the things his wife will get up to now that he is dead but aware of what is happening.  We also meet another man who is about to die–this time by suicide.  He is in debt for a lot of money and decided it was better than being beaten to death by the men he owed money to.

Turns out, this man outranked the first man and since the Red Dwarf mining ship could only support one hologram, this man was brought back at the expense of the first one.  A lot of ground is covered in these first two chapters and we haven’t even met any of the main characters of the show yet.

Dave Lister comes along in Chapter 3.  For those unfamiliar with the show, Dave Lister is the main character and also the last human being alive.  In the show he is three million years into deep space.  But he had been in stasis so he is only 27 when he is brought out and told the news that everyone is dead.

But as the book starts, Lister is miserable on a planet Mimas.  He got really drunk at his birthday party in Liverpool and, by the end of the night, he was on a planet very far from home with no money to get back. (more…)

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SOUNDTRACK: BARTEES STRANGE-Tiny Desk (Home) Concert #172 (February 22, 2021). 

WXPN has been playing the song “Boomer” a lot.  I really like it–it’s super catchy and fun.  I hadn’t heard anything else by him, so I was delighted to see he had a Tiny Desk Concert.

Bartees Strange and his band are in a basement, surrounded by electrical wiring and DIY sound-proofing, but also green plants that no doubt have names. In Falls Church, Va., the indie rocker is a stone’s throw from the much-missed Tiny Desk space in D.C., yet offers a set just as cozy and crammed.

And he starts it right off with “Boomer” which is just so catchy, with that slinky bass line from John Daise and that outrageously catchy chorus.  Dan Kleederman plays the guitar leads throughout while keyboardist Graham Richman plays rhythm.

The rest of his set proves that musically he is open to anything:

hip-hop bombast meets sprawling indie-rock riffs and mind-numbing electronic beats. “Sonically it doesn’t make sense,” Bartees Strange told NPR Music, “but it makes sense because it’s me and I think that’s like an important part of music – the person.”

For “Mustang” Richman hands Bartees his guitar and plays keyboard instead.  He says that Mustang is about where he grew up–Mustang, Oklahoma.  This time Bartees plays the pretty guitar riffs and Kleeederman adds slide guitar.

For his Tiny Desk, Bartees Strange keeps the bluesy rock and roll bravado of “Boomer” and the loping smooveness of “Mustang,” stripping down the drum kit to include a sheet music stand as an extra cymbal.

He answers the question of what has inspired him this year by saying he has been trying not not to pay too much attention to the transition, so he’s been focusing on music.  He loves Yves Tumor’s Heaven for a Tortured Mind. And Aaron Dessner for being the Indie rock Michael Jordan.

It’s in the back half where Bartees Strange does the switch-up, as “In A Cab” flows seamlessly into “Flagey God.” On record, these are louder and noisier songs that explore very different sides of his 20-sided die, but here, they become laid-back jazz club jams, deceptive in their ease, but beautifully ornate as the arrangements open up to his world.

“In A Cab” opens with a quiet but cool drum pattern from Carter Zumtobel and a sweet combination of guitar lines.  It segues quietly into “Flagey God” a more mellow song that has a great catchy guitar riff.

I’m going to have to check out the whole album.

[READ: April 15, 2021] Under the Pendulum Sun

I’m not sure how I heard about this book, but I saw a rave review and it inspired me to actually buy the book, sight unseen.  I didn’t realize the book was put out by Angry Robot, a publisher I have been recently introduced to and which publishes esoteric and unusual fiction, that seems to have a religious aspect.

So this fit right in.

This is a long book and it is written in an old style–slightly formal with lots of biblical components.  The writing at times felt stiff, but not unreadable.  And, this is the weirdest part, I simultaneously felt like the book was moving too slow and yet I felt like I was flying through the chapters.

Each chapter opens with an epigram.  Most of them are fictitious but there are some from real authors and these may or may not be real quotes.

The book opens with Catherine Helstone talking about how she and her brother Laon (how in the heck do you say that?  It plagued me for the whole book) grew up fantasizing about new worlds.  But neither one of the ever fantasized about Arcadia, the land of the Fae.

Now that they are older, her brother has left for Arcadia to become a Christian missionary–to convert the souls of the Fae–if they can even be converted.  Several years later, Catherine has now set off to find him.  She has a ship and his compass in hand. But the key to reaching Arcadia is to get hopelessly lost and then the entrance will appear.

Neat. (more…)

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SOUNDTRACK: STEADY HOLIDAY-Tiny Desk (Home) Concert Meets SXSW: #187 (April 5, 2021).

Every year, NPR Music participates in the SXSW music festival, whether it’s curating a stage or simply attending hundreds of shows at the annual event in Austin, Texas. Last year, the festival was canceled due to the pandemic, but it returned this March as an online festival. We programmed a ‘stage’ of Tiny Desk (home) concerts and presented them on the final day of the festival. Now, we present to you Tiny Desk Meets SXSW: four videos filmed in various locations, all of them full of surprises.

Steady Holiday is the music of Dre Babinski. This video, filmed for our virtual SXSW showcase, finds her by the fireplace, a dog at her feet, an acoustic guitar in her arms. Steady Holiday is singing “Living Life,” a tune about a favorite topic of mine: the everyday, the mundane, and living in the moment. All the songs in this Tiny Desk (home) concert are from Steady Holiday’s 2021 album Take The Corners Gently, a top record of mine this year.

As “Living Life” opens, Dre Babinski sings the first verse solo, then you can hear other musicians join in and she reveals their secret location (with some very loud shutters).  Derek Howa plays a pretty solo on the keys and by the end of the song drummer Brijesh Pandya is “da da daing” along to really flesh out the song.

Surprise guests aren’t the only surprise.  After the first song, her printer (with googly eyes and an arm) prints out the next song on the setlist.

“Tangerine” is a bouncy song with some heavier ends and an interesting chord progression.  Howa’s keys sound almost like a toy piano (but louder) and add a chiming quality.  It’s wonderfully catchy.  I’m curious how much bigger the proper version of this song sounds. Howa adds some creepy spacey effects in the middle, so I imagine the recorded songs have more going on.

The printer spits out a piece of paper: Your band is overdressed.  Then she tells us why the guys are outside (it’s pretty funny).

Laughing while her dog grabs a chew toy, she performs the album’s opening track, “White Walls,” a song about self-reflection and how doing the same thing over and over (“painting white walls white”) won’t make life better.

This is a slow bouncy song with a really catchy chorus: “painting white walls white just to kill the time.”

Then she shutters out her band and

As her printer cues the last song, (oops, small spoiler), Steady Holiday takes us out on a lovely tune, “Love Me When I Go To Sleep”:

It’s just Bea and her guitar as she delicately sings

“Fragile aren’t we, who would guess / Here today, tomorrow’s taking bets.” Her refrain amplifies that fragility with a reminder to appreciate the gift of life. “Love me when I go to sleep / Love me with no certainty / Love me when I go to sleep.”

Her voice is clear and lovely and the final song feels like a lullaby.

[READ: April 20, 2021] Joan & The Man

This book came in at work and something about it made me want to read it (the shortness helped).

So this is a self-published book (I think–it could use some editing) that we received as a gift (from the author?).  It is Rykaczewski’s fourth novel and it is a wonderfully weird mix of reality and nonsense.

Chapter One focuses on Joan as she tried on some clothes in a mall–she is buying bralettes–imposed propaganda to younger hip girls.  Then it pushes back as she and The Man head to their place–the World Revolt Art Gallery.  But more on that place after a brief excursion to the Riverbend Arts Market.

Joan & The Man are artists living in Florida.  She works in paint and he works in words.  They spend time at the RAM hoping to sell some works, but really it’s a sucker’s market.  They often head down with their dog Duke,  Duke is a nasty dog to everyone but The Man. Then there’s a weird moment where Duke winds up trading places with a movie star dog (to the terminal end of the movie star dog).  But losing Duke frees them. (more…)

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SOUNDTRACK: KACY & CLAYTON-Tiny Desk (Home) Concert #186 (March 29, 2021).

Kacy & Clayton had been generating some buzz around here just as the pandemic hit.  I hadn’t heard any of their songs, but their names kept cropping up.  And the one constant note was that they were cousins.

I don’t know who Marlon Williams is, or if he sings with them much (you’d think their name would be different) but he features prominently in these songs.

Across hemispheres, despite a nearly 8,000-mile separation, the Saskatoon, Canada duo of cousins Kacy & Clayton and New Zealand’s Marlon Williams manage to create harmony and intimacy. The Tiny Desk (home) concert, on the surface, is joyful and playful with animated illustrations by Daniel Syrnick.

They start with “I Wonder Why.”  Marlon sings lead and plays backing guitar on this one. Then Clayton play a quite electric lead guitar before Kacy kicks in with some really nice backing harmonies.  She sings in a striking country style although this song has a kind of old school country rock and roll feel.

Marlon’s Roy Orbison-like voice conjure a 1950s rock and roll sound that’s a surprisingly perfect match for Kacy’s serene voice.

A careful listen to “Plastic Bouquet,” the title track to the 2020 collaboration between Kacy Lee Anderson, Clayton Linthicum, and Marlon Williams, reveals a depth of storytelling more familiar in murder ballads than the trio’s upbeat Americana sound.

Kacy sings,

When a small four-door car was severed in two
Three girls were killed by a boy they all knew
Out for a party, they’d never attend
Pockets with money they never would spend

The devastatingly sad tale is met with smiles across hemispheres while an animated teacup pops on screen for Kacy to sip.

Kacy’s banter between songs seems really stiff for some reason.  But Marlon seems to be enjoying himself.

The “Arahura” has an old West/Americana feel despite the fact that the river is in New Zealand.  The yodeling vocals do work well together along with Clayton’s guitar licks.

Kacy stiffly says, “Wow that is a fun one.  It’s fun but it’s sad.”

“Isn’t It” has a very cool guitar riff and is a bit more uptempo.

It’s a magic collaboration of the very far north meeting the very deep south. The wizardry of technology reminds me of the wondrous world we often share these days, from a distance.

Before the final song, “Devil’s Daughter” comes the most awkward banter I have ever seen.

Marlon: It’s nice to be able to play these songs.
Kacy: It IS nice.  It’s nice because we know them.  [WTF?]
Marlon: I know, imagine if we didn’t
Kacy: Yes it’s be hard.  {WTF]

“Devil’s Daughter” is a pretty song with some nice guitar work from Clayton.

[READ: April 30, 2020] “Feel and Hold”

I’ve said before and this confirms my opinion that Diane Williams writes amazing sentences.  But cockamamie stories.

The Rotches went out for food in the morning.  But the meat didn’t look appetizing so they didn’t buy any.

This despite or because of the fact that the butchers hands were more expressive than their own–“those vendor’s hands could hold and feel at the same time.  When we hold a thing–I am not so sure we feel it.”

After a few paragraphs the story interrupts itself

Rotsch was–did I tell you this?–my friend Rotsch became quite a problem in the end and he fled to some remote part of the country.  I enjoy weird interruptions like that, but this story seems to be all interruption. (more…)

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SOUNDTRACK: BUCK MEEK-Tiny Desk (Home) Concert #185 (March 25, 2021).

Buck Meek is the guitarist for Big Thief.  I loved the first Big Thief album, but have found the newer ones to be a little too soft for my liking.

Initially I would have thought that Buck Meek would be a harder guitarist.  But I don’t really know that much about his contributions to the band, so it should probably come as no surprise that he writes folky songs.  Although even Bob Boilen seems a bit surprised.

The back of a van on a sunny day holding an acoustic guitar is a far cry from the usual setting where I’d see Buck Meek. More likely, I’d be in a dark club; Buck’s intense electric guitar and backing vocals are a part of what makes up my favorite rock band these days, Big Thief. But here, home is Buck’s Toyota Land Cruiser in Topanga Canyon, Calif.

Buck plays a pretty acoustic guitar and his voice is soft and gentle.  He reminds me a lot of Nick Drake.  He plays three songs from his 2021 album, Two Saviors.

“Pareidolia” is, as Buck Meek explains, “this human instinct to put symbol to stimulus.” He says, “I’ve been spending this time of solitude in the canyon here spending a lot of time observing the clouds and things” — in other words, finding shapes and objects in clouds and objects where none intended to exist and perhaps turning them into stories or songs or just letting your mind wander.

He follows that with the title track “Two Saviors” and “Halo Light,” two more songs that continue the soft and gentle style.

The Texas native has a tender voice with a bit of a yodel and a resplendent way with words. After three songs from Two Saviors, Buck treats us to a new song written in quarantine titled “The Undae Dunes,” once again drawing pictures in the sky, this time of rockets and perhaps an astronaut and a love, all from the back of a Cruiser.

He says that “The Undae Dunes,” is dedicated to the woman he loves who may be an astronaut.  She’s applying to the space program.  That’s pretty fascinating in and of itself.

I enjoyed this chill Tiny Desk/Van set.

[READ: April 10, 2021] Pobby and Dingan

I had never heard of Ben Rice or this story until one of his other stories was in a New Yorker issue from 2001.  I enjoyed that story and when I looked him up, I saw that he had written this story. And nothing else!

Which is weird because this story

was joint winner of the 2001 Somerset Maugham Award and shortlisted for the John Llewellyn Rhys Prize. It has been made into the 2006 film Opal Dream, a 2010 play for children by Catherine Wheels Theatre Company and a 2012 play The Mysterious Vanishment Of Pobby & Dingan for Bristol theatre company Travelling Light.

Perhaps he decided to leave on a high note.

The book is a novella (about 90 easy-to-read pages) set in the opal mining community of Lightning Ridge in New South Wales.  That’s over 400 miles from the nearest big city (Brisbane).  So while I don’t know if it’s in “the bush,” it’s certainly not suburban.

Lightning Ridge is apparently the opal capital of Australia.  Much like during the American gold rush, prospectors flocked to Lighting Ridge to try to get rich.  This story is about one such family.  The dad, Rex, is the prospector, the mom has followed him here from England.  She clearly misses her old life (they refer to her as Pom and her mother as Granny Pom).

The narrator is Ashmol Williamson, a ten or so year old boy.  But the story is about his sister Kellyanne.

He thinks that his sister is a fruit loop.  Because she is old enough to be going to school but she refuses to admit that her imaginary friends Pobby and Dingan are imaginary.  She talks to them constantly.  It drives Ashmol mental. (more…)

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SOUNDTRACK: JUSTIN BEIBER-Tiny Desk (Home) Concert #182 (March 17, 2021).

When Taylor Swift did a Tiny Desk Concert it was HUGE news–the biggest pop star in the world at the Tiny Desk?

I assume at one point Justin Beiber would have made a similar big deal (even if this one is a home show and just a stream like any other). I didn’t even know he was still making music.  So imagine my surprise to hear that the album that these songs come from went to number 1 and that he is the youngest artist to have 8 number one records.  Who is buying Justin Beiber records?   I have no idea.

Especially now that he’s all tattooed up and sleazy looking.

Of course, it’s very likely that I don’t know anything he has done, because I really didn’t know what he sounded like.  He plays four songs here.

“Holy,” another song from Justice, opens this set without the presence of guest Chance the Rapper.

“Holy” is a slow acoustic song (the acoustic guitar from Julian McGuire sounds great).  His musicians are from We the Band.  This is a catchy pop song for sure–the holy holy holy, hold me hold me hold me part is a nice touch.  I like the addition of the record scotching from DJ Tay James in the middle.

But why is he always grabbing his crotch?  Especially the way he grabs it, like he has to pee.  It’s really disconcerting and seems like an unconscious reflex at his point.  It looks particularly weird with his big baggy clothes on.

For “Peaches” he heads over to the keyboard.  Julian McGuire picks up the electric guitar and shows how good he is.  The opening piano melody is slow and pretty.  I really like this song except that the lyrics are so unnecessarily crass.  Why have such a pretty song and yet have your call and response lyrics be so rude

I got my peaches out in Georgia (oh, yeah, shit)
I get my weed from California (that’s that shit)
I took my chick up to the North, yeah (badass bitch)
I get my light right from the source, yeah (yeah, that’s it)

And good lord he repeats the chorus so many times.

Bieber plays the slow piano solo as the scotching begins and then keyboardists O’Neil “Doctor O” Palmer takes over and plays a really groovy melody as the outro to the song.

“Peaches” will exist in a significantly different form when Bieber drops his new album, Justice, on Friday — the track will feature guest vocals from GIVEŌN and Daniel Caesar

For “Hold On” he moves away from the keys.  I prefer him standing in front of the keys because he looks so awkward when he’s just standing there, hunched over and crouching.

The song has pretty echoing electric guitar (Mcguire again).  This song starts out quietly but when it kicks in, what a super catchy song!   It’s got a killer bass sound from Harv and is just  full on bouncer.  This should be huge.   In the middle of the song the band take a verse or two to totally rock out with crashing drums from Robert Taylor as well as ripping guitars and bass.

“Anyone” ends the set as a big old ballad with satisfyingly quiet synths and backing vocals.  This is a really pretty song, but it would work so much better if he didn’t look so scuzzy.  But once again the band totally rocks the end–a big jam that is really awesome once JB stops singing,  McGuire get a ripping solo and the band turns the song into a funk jam with some cool bass and drums and the samples kicking in.

[READ: March 31, 2021] “Seventy-Two Virgins”

Comedy pieces are often funny when they are timely.  I’m not sure what was going on in 2007 that Steve Martin wanted to make a joke about Muslim martyrs enjoying 72 Virgins.  I do recall hearing about that closer to 9/11, but maybe something else new had happened?

I’m not willing to look this up.  How does one even searching for 72 virgins?  But the context is that it was widely believed that Muslim ‘martyrs’ enjoyed rich sensual rewards on reaching paradise.

So without having 72 virgins in the zeitgeist, what’s it like to read this?

Well, this is basically a kind of play with every virgin getting a line.

(more…)

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SOUNDTRACK: STING-Tiny Desk (Home) Concert #183 (March 22, 2021).

Sting starts this Tiny Desk Concert with a duet on “Englishman/African in New York” which is exactly how he started his previous Tiny desk Concert back in 2019.  In fact, since this is a duet, I wondered if I had accidentally cliked on the wrong concert.

But the previous Concert was a duet with shaggy and this one is a duet with Shirazee.

During the pandemic, Beninese pop star Shirazee adapted his own rendition of Sting’s classic “Englishman in New York” into “African in New York.” His version made its way to Sting, who loved it so much that he asked Shirazee to lend his voice to his Tiny Desk (home) concert and record for his new Duets album.

I never loved this song, but I’ve always liked it.  But I really like the way it has taken on a life of its own with these new duets.  And the “African in New York” parts shine a new light on the song and show its universality.

Shot in a lounge in NYC where Sting’s presently recording another album, these two gentlemen share a touching moment between songs, expressing their mutual admiration and discussing the sheer joy about a simple concept – performing in a room together after 12 long months of isolation and virtual collaborations.

Sting comments about how the song has had multiple lives: a Jamaican in New York, a Somalian in New York and now a Benin man.  Shirazee says, “Benin man in New York, I should have said that why didn’t I say that?”  When Shirazee thanks Sting, he replies, I’m always delighted when artists take the template I’ve written and make it better made it different.  Shirazee thanks him again and then says, and now I can’t wait to get a free Sting concert.

Sting jumps into a stunning acoustic performance of “If I Ever Lose My Faith in You,” another one of his many classics. The timbre of his voice conjures a sense of carefree familiarity, reminiscent of times with more levity and peace.

He sounds really good and definitely has fun vamping at the end of the song.

His finale, “Sister Moon,” is a gem from his 1987 solo album, Nothing Like the Sun, that rarely gets performed live.

I don’t know this song, but it sounds really good, just his voice and his resonating guitar.

[READ: March 31, 2021] “Tasteless”

The September 3, 2007 issue of the New Yorker contained several essays by their writers about the subject “Family Dinner.”

This is one of David Sedaris’ really funny essays.  There’s so many great lines.

He starts by saying that he was promised that when he quit smoking his sense of taste would remarkably improve–like putting on a pair of glasses that are your prescription.

But after six months he’s having no luck.  However, he was never an attentive eater.  He’d thank his mom for the fried fish and she’d say it was chicken or even veal.

She might as well have done away with names and identified our meals by color: “Golden brown.” “Red.” “Beige with some pink in it.”

In addition to not tasting things, he says he is a shoveller.  As if he were a prisoner, encircling his plate to fend off the others. (more…)

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SOUNDTRACK-XAVIER OMÄR-Tiny Desk (Home) Concert #181 (March 15, 2021).

Xavier Omär has a fantastic voice–one that I thought was rather unexpected given his appearance.  He’s a pretty big guy and seems like he’d have a deep resonant voice, but his voice is really soft and high.  And powerful.

He’s also had a pretty interesting career.

Omär’s career began in Christian music under the moniker SPZRKT, before he moved into secular R&B and hip-hop. Through his first couple of projects and work with Seattle DJ and producer, Sango, the 27-year-old singer’s heart-on-sleeve approach quickly created a buzz.

He says that the whole band is from San Antonio Texas.

Xavier Omär decided to turn his Tiny Desk home concert into a whole Texas affair. Initially, Omär wanted to recreate the look of the Desk: “I wanted to kind of bring the feeling of Tiny Desk back, so I had booked a library,” he said. Ultimately the library didn’t work out, but Rosella Coffee and Wine in his home base of San Antonio proved to be a great match for his sound–spacious and airy.

“Like I Feel” opens with some grooving bass from Korey Davison and wailing sax from Kevin Davison.  Josh Greene adds some big drums fills and guitarist Billy Ray Blunt Jr. plays some wailing leads.  Xavier trades off lead vocals duties with Talyce Hays whose voice is also terrific.

During “Blind Man” he throws in some rapping–a softer cadence, but to good effect.  There’s some response backing vocals from Jay Wile while Alana Holmes and Hays fill in the backing vocals.   Lyrically the song is kinda lame (sweet, but lame), but there’s some cool musical moments–splashes of four notes and more than a few tempo changes.

For good measure, he plays the song that put him on the map, 2016’s “Blind Man.” This is undoubtedly Xavier Omär’s best live performance on record.

I had no idea that this was his breakthrough song.

He tells a quick story (it’s amusing) about how he wishes he was at the beach.  But even if he can’t get there he can think of the the rhythm of the waves and the “SURF.”  He says he could enjoy the surf because his woman has that “splah” (?).  Its’s a pretty ripping song with, again, surprising tempo changes.  The song has moments that I would say come from Frank Zappa’s oddball melodies.  Ands once again, the drums are massive.

He says “So Much More” is the wedding song of the year.  It features Justin Crawford on keys and is a much more mellow song than the other.  It also allows Xavier to really show off his voice.

The Alamo City resident and his cohorts orchestrated a charismatic and vocally rich show. The set list perfectly depicts the emotional arch of if You Feel. He’s on a clear path to greatness in R&B music.

It was probably a smart move to go secular.

[READ: March 31, 2021] “A Man in the Kitchen”

The September 3, 2007 issue of the New Yorker contained several essays by their writers about the subject “Family Dinner.”

Donald Antrim starts this rather sad memory with an amusing story.

His father learned how to cook when his mother served “hot tuna-and-mayonnaise casserole with potato chops as a decorative garnish.”

This story had become Received History in the family: “Baked mayonnaise! I had to take action!”

Soon cooking had become his father’s second full time job.  He taught literature at the University of Virginia and then he would drive around buying all of the food stuffs for their meals.  He would travel to different markets for different foods and he was an early adopter of the Cuisinart. (more…)

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SOUNDTRACK: BLACK COFFEE-Tiny Desk (Home) Concert #180 (March 11, 2021).

Black Coffee is such an excellent name.  And yet the music he creates is nothing like what I was expecting.

Born in Durban and raised in the Eastern Cape in Mthatha, Black Coffee’s subculture of soulful … house music has always been about love. It’s a form of sonic escapism that provides a sanctuary for all beings, regardless of race, age, or gender. Therefore, it’s only fitting that Black Coffee rocks a tee embossed with “I Heart You” across his chest.

Black Coffee stands behind a big mixing board as he generates most of the sounds.  Although next to him is Pansula on the drums.  And Pansula is possibly the real star of this set, with his persistent and powerful rhythms.

Black Coffee, a figurehead of the global South African dance movement, is known for his undeniable DJ sets and AfroHouse anthems that (under normal circumstances) light up dancefloors around the world. He brings that same feeling to his Tiny Desk (home) concert, but with a unique configuration: live instrumentation.

Kicking off the set is “You Rock My World” featuring Soulstar, a classic dance joint from his Africa Rising album whose convergence of pulsating percussion, a calming melody, and the sultry vibes of Soulstar’s voice feels like a spiritual palette cleanser.

It starts with drums and drums and more drums from Pansula.  Black Coffee’s samples provide most of the music with some fleshing out from Nduduzo on the keys.  Then Godfrey Mntambo plays some sultry sax as the lead melody.

The backing singers (Musa Nhlapho, Sandisiwe Sishuba and Bonokuhle Nkala-Mtsweni) start cooing and then lead singer Soulstar sings.

“Flava” is up next with lead vocals from Una Rams and Tellaman.  My favorite part comes at the end of each verse as Black Coffee thumps the bass and Pansula echoes with cymbals.  The gentle keys on this track provide some nice high end amid all the bass.

“Flava” and “Wish You Were Here” come from his new LP, Subconsciously, whose litany of special guests — include Diplo and Pharrell.

“Wish You Were Here” is a bit more mellow and includes a much wider array of samples–guitars, flutes and crashing sounds.  Singer Msaki has an Annie Lennox vibe and sounds really great.  Nduduzo plays a jazzy piano solo as the song nears the end, which adds a fun new component to this house song.

[READ: March 31, 2021] “Real Food”

The September 3, 2007 issue of the New Yorker contained several essays by their writers about the subject “Family Dinner.”

Chimamanda Ngozi Adichie explains that when she was little she hated garri, a food served for lunch every day except Sunday in her house.  Her mother was concerned that she was not eating at all and sat with her to watch her eat the garri.

It was made in various ways, with different ingredients (primarily yams) but was always cooked, stirred or pounded in a mortar until it became a soft mash: “it was jokingly called ‘swallow,’ because one swallowed the morsels without chewing.” (more…)

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SOUNDTRACK: COMING 2 AMERICA, SOUNDS OF ZAMUNDA-Tiny Desk (Home) Concert #179 (March 10, 2021).

I thought that this name meant that it was the soundtrack for the movie.  But no, this release highlights

the new compilation Rhythms of Zamunda: Music Inspired By Coming 2 America.

Tenuous connection to the movie, perhaps, but the results are great:

six artists representing four countries in Africa perform a megamix of selections from the project. Each performance from the pan-African project bridges the distance between the countries and cultures.

The songs jump back and forth to different locations

In addition to the sweeping range of the showings, the look of each set is stunning: vibrant, opulent colors; meticulous Tiny Desk shelf recreations; gorgeous African artifacts; and a few nuggets dedicated to King Akeem of Coming 2 America.

The majority of the songs are filmed in South Africa.

South Africa’s Nasty C — who’s arguably the biggest rapper on the continent — opens the set and trades verses with Tiny Desk alumni Ari Lennox on “Black and White.”

The set looks like the original Tiny Desk Room with cluttered bookshelves.  I like the lines where Nasty C pauses before saying the last word.  Ari Lennox’s vocals are really great.  Fundile “FD” Dlamini plays drums while Christer Kobedi and Vaughan Fourie play keys.

He then sends us over to Cameroon for some Afrobeats flavor, courtesy of Locko and his stripped-down version of “Magnet.”

His book-filled room is also a nice backdrop.  I enjoyed this song more than the previous because of all the instrumentation–drums (Marc Nzana), guitar (Benjamin Mouangue Bossamo), cool bass (Joel Parfait Ondigui) and even a violin (Martien Oyono).  Brice Essomba fleshes out the songs on the keys.

We then circle back around to South Africa to hear from R&B newcomer Ricky Tyler.

It’s the same set as Nasty C, but this time with a full band.  There’s deep bass from Tendai “Shoxx” Shoko and soft guitars from Innocent Mzizi.  The keys from Zādok float throughout grounded by drums from Tino “Beatboy” Damba.

From there, we head north to Nigeria to do the “Jiggy Bop” with Alpha P.

Alpha P is lounging on a zebra bean bag chair.  Then his hype man (David Osang?) gets everyone going and then comes a seriously funky bass from Ayodele Agbabiaka Oluwasegun.  Rocking guitars from Best Amakhian and rocking drums from Ebenezer Olayinka really power this fun dancey jam.  Olabiyi Julius sprinkles melodies from the keyboards throughout.  The backing vocalists (Agu Chinyere Gift, Tosin “SDK” Tade, Femi Jacobs) keep the song flowing nicely.

Then it’s back to that original set as

we take one last trip to South Africa for award-winning dance DJ and producer Prince Kaybee’s “Fetch Your Life,” featuring Msaki.

I haven’t heard of Msaki but her voice is really beautiful.  Prince Kaybee lays down a thumping ground track (while wearing one glove to twist the knows).  There’s a cool guitar solo from Zādok (who returns to show off his multi-instrumental skills) and gentle keys from Fundile “FD” Dlamini.  Like with the other songs, the thumping bass, this time from Katleho Motlatla really grounds the song.

Finally, Togo duo Toofan dares us not to dance to “Yé Mama.”

This song has a great island feel with lots of percussion (Therence Egue), grooving bass (Martin Lawson) and vocals from Barabas and Masta Just in French.  When Lionel Adjovi plays his guitar licks you can really hear where Paul Simon got the tunes for Graceland.  Paul Akakpo keeps the sound full on the keys while Sylvie Akpedjo and Lamabara Paul provide backing vocals.

This is a pretty great introduction to music from all over Africa.

[READ: March 31, 2021] “Choke”

The September 3, 2007 issue of the New Yorker contained several essays by their writers about the subject “Family Dinner.”

Anthony Lane was in France on a student exchange program.  The family he stayed with was wonderful.  Until they dropped an artichoke on his plate.  It steamed with the promise of pure malice.

Can you imagine a food less appetizing than one that possessed: “bristles, bottom and choke.”

The family watched him in bemused delight as he tried not to look like a an irredeemable hick–not knowing what to do with this hand grenade

He watched Madame rip off a spiky leaf, dip it into butter and then eat the inside.  He followed suit and felt like Tigger eating one of Eeyore’s thistles. (more…)

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