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Archive for the ‘Terry Pratchett’ Category

SOUNDTRACK: KING’S X-Black Like Sunday (2003).

This is a collection of old and rare tracks that King’s X decided to record anew, rather than releasing older versions.  This makes for an unusual scenario of a band recording songs that the wrote some twenty years earlier.  It’s a weird collection of songs to me, as some of them, the ones that I assume are early songs, really sound like they’re early songs: without all of the interesting aspects that later King’s X became known for (musical complexity, meaningful lyrics).  I can’t help but wonder if they thought about “updating” the songs more than just by re-recording them.

And, I have mixed reactions to this disc.  It’s not King’s X as I like them, yet there are moments that are really great.  And, there are even a couple of songs that I don’t think are very good, yet which I can’t get out of my head (“Danger Zone” comes to mind…it sounds like an 80s metal ballad, and yet it’s been in my head for 3 days).  Some other tracks are really good, and must be B-sides, rather than old songs: “Black Like Sunday” is great and “Screamer” is a wonderfully dark song, even if the chorus is pretty much just Doug screaming.  There’s also a good chance for Ty to get a soloing workout on “Johnny,” an 11 minute song that is mostly guitar noodling.

Overall this disc feels like something of a stopgap.  And, when you combine it with the live album Live All Over the Place (2004) which came next, it really seemed like King’s X were winding down their career.

[READ: October 22, 2008] Nation

Terry Pratchett has a new book out and — NEWSFLASH — it’s NOT set on Discworld.  There’s no mention of Discworld, and Pratchett’s character-in-every-book Death does not show up (although there is a Death-like character, and there are voices in the main character’s head that are in all caps, just like Death).

I’ve not read anything about why he set this book on earth (or, as the epilogue notes…a parallel universe earth), so I’m not sure if there’s something more to it than just wanting a change.

And so, no speculating from me, just a review of the book. (more…)

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SOUNDTRACK: OMAR RODRIGUEZ-LOPEZ-Calibration (is Pushing Luck and Key Too Far) (2008).

Typically a solo album means indulgence. But how can you be more indulgent than Mars Volta? They have fifteen minute songs with twenty-seven sections and operatic vocals and lyrics that are bizarre at best (they’re fantastic, don’t get me wrong, they’re just…out there!). So, if you’re the guitarist in a freak flag waving band, how do you let your freak flag fly on your own?

This solo album actually does prove to be more out there than Mars Volta. Primarily because whereas Volta stays more or less within the realm of their prog metal, this record sets no limits. There’s ambient noodling, there’s chaotic noise, and there’s beautiful extended pieces.

Omar (I’m not on a first name basis, his name is just long) plays a bunch of instruments on the record (he gets help from a bunch of folks throughout as well), but primarily he plays guitar. And I can’t help but think that Omar doesn’t understand how to play the guitar–he knows how to play, and frankly, he’s pretty amazing at it, but I’m not sure he understands it. His melodies are bizarre, he sense of what should come next is totally askew, it’s as if he learned how to play guitar by listening to vinyl records that were a little warped. It’s pretty fantastic.

In one song he sounds like Jimi Hendrix–not so much like a Jimi Hendrix song, but that he achieves the same sonic freakout sound that Jimi achieved in his live recordings–squalling feedback and amazing density. There’s another track where he channels Carlos Santana. (This track features John Frusciante of the Red Hot Chili Peppers on vocals. It is singularly bizarre because it cuts out right in the middle of a line–freaks me out every time!) The next song “Sidewalk Fins” ends with some of the noisiest, loudest, most crushing sounds. It sounds like an amplifier getting smashed by a giant microphone–feedback and thuds–repeated about 4 times before it’s over.

And yet the first few songs are amazingly restrained for Omar. They are short, ambient and, if not a little weird, then certainly quite pretty. But as the album moves along and the songs get longer, his freak flag comes out (see “Lick the Tilting Poppies”). And yet, the disc ends with a beautiful 11 minute instrumental song. it’s beautifully arranged, with intertwining guitar melodies. If there was any doubt about Omar’s skills, this track will knock down all questions. It’s also pretty clear that Omar respects Zappa, if not for his guitar skills, then certainly for his compositions.

This definitely isn’t for everyone–there’s a lot of weirdness afoot–but if you’re looking for something interesting or different, and you’re not afraid of something out there, this is a good disc to check out. Oh, and you don’t need to like or have even heard of Mars Volta to appreciate this record.

[READ: June 27: 2008] The Turtle Moves!

When I saw this book on Amazon, it never occurred to me that it was an “unauthorized” account. It seems that whenever someone or something gets popular someone else tries to make a buck off of it with an “unauthorized” publication. I never know how accurate they are, if they have dirt that the subject doesn’t want out or if “unauthorized” is just written there to sell copy. (more…)

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

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

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

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

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

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

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

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

It’s nice when an unexpected surprise turns pleasant.

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

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making.jpgSOUNDTRACK: NIRVANA-Sliver: The Best of the Box (2005).

sliver.jpgSo, my $1.50 copy of this came in today and I listened to the three unavailable tracks. The first was a track called “Spank Thru,” which was totally new to me. The other two were demos of: “Sappy” (also known as “Verse Chorus Verse” on the NoAlternative compilation) and “Come as You Are” from Nevermind.

“Sappy” is one of my favorite Nirvana songs. I tend to forget about it because it’s on the compilation and not one of their records. This version is a little slower, and was one of the original studio recordings of it.

“Come As You Are” is a great song from Nevermind. This is a boom box demo. Not the most insightful recording, but interesting for completists.

“Spank Thru” is a very early recording from when Nirvana was called Fecal Matter. It’s one of the few recordings (aside from Cobain’s solo recordings) that doesn’t have Krist Novoselic on bass (Dale Crover plays bass). I’m not sure why they didn’t release any other tracks from the demo, as it is by far the most “interesting” thing of note on the collection. It’s interesting to see a young Kurt writing a song like this which starts out mellow, but in a very different style than the Nirvana mellow ™. Hearing it many years after the fact, it almost sounds like a joke with Kurt “crooning” the opening verses. I gather there’s a live version on From the Muddy Banks… I guess I don’t listen to that record very much.

It was certainly worth paying $1.50 to hear this song. As for the rest, I guess if you’d like to hear Nirvana demos, but not a box set worth, then this is the way to go. There are some highlights from all the phases of Nirvana’s career, with none of those excessive jams that make the box set a little tedious.

One final Nirvana thought: this collection made me realize just how long most Nirvana songs are. Even though Nevermind sold billions of copies, it wasn’t really radio friendly. Even the hits approach the five minute mark. Hmm, maybe the world was once ready for non-commercial radio. American Idol has certainly nailed the coffin lid shut once again though.

[READ: October 20, 2007] Making Money.

I finished the last chapter of this book about ten hours after my daughter was born. I was still pretty wired from the whole experience, and only had about 30 pages to go, so I stayed up while everyone else was asleep and finished just as I was starting to crash. (more…)

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makingmoney.jpgOn the website for the new Terry Pratchett book Making Money, there is a contest to “Take and post a photograph of your copy of Making Money — or any Discworld book(s) — in a creative way.” So, here’s my entry. And no, I haven’t read it yet! But I can’t wait!

As you can see, I was so excited to get the book in this fashion, that my picture is a little blurry.

Sorry to everyone who came looking for the picture before it was up.

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wintersmith.jpgSOUNDTRACK: INVERSE ROOM: Pieces for the Left Hand (2005).

inverse.jpgInverse Room is the musical alter ego of J. Robert Lennon, author of The Funnies, Mailman, and other works. A few years ago he wrote a collection of short stories called Pieces for the Left Hand. The book is only available in England as far as I can tell. This CD, available from his site, is a companion piece of sorts. I had enjoyed The Funnies many many years ago, and was delighted to see that he still had some works being published. It was only when I stumbled onto his site that I discovered Inverse Room.

This CD contains 99 songs (the reviews all say 100, so maybe the Part I and II song can count for 100.) Obviously, the songs are short. Very short, in fact. There are only a couple that are over one minute long.

So, what does it sound like? Well, everything, really. In what is an amazing exercise in creating melodies, Lennon has crafted 99 different songs in different genres and different styles. It is an incredible hodgepodge of music, and it is very fun. Song titles include: “Political Song for Barney to Sing” (very funny), “Set the Controls for the Heart of Denver,” and “Heavy Metal Summer Camp.” Most of the songs are funny (but a joke that doesn’t wear out its welcome in 23 seconds), some are instrumental, and Lennon plays everything.

But what does it sound like? Well, to be honest it sounds like They Might Be Giants. Lennon’s voice is very close to one or both of TMBG’s Johns. And, considering that TMBG did a similar experiment on Apollo 18’s “Fingertips,” this album is not unprecedented. And if you liked “Fingertips” you will love this CD. I guarantee it.

If you’re not familiar with “Fingertips,” then you’ll have to go with the description above: 99 songs, no two songs sound anything alike, and they’re all really short. Still not convinced? The CD costs $5 from his website. There’s bound to be one song you’ll like, right?

[READ: Fall 2006] Wintersmith

Terry Pratchett has written a million books or so, most of them focusing on Discworld. I’m not even going to try to get you up to speed on Discworld. For a nice synopsis and a list of all of the books in the series, check out the Wikipedia entry. But to sum, it’s like an alternative universe to our own except that the world is flat and is held aloft by four elephants that are standing on the back of a giant turtle floating in space. Got it? Good. (more…)

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good.jpgI Just read here that editions of Good Omens now comes with a “Pratchett on Gaiman” and a “Gaiman on Pratchett” addition. Sometimes the cachet of having an older edition of a book simply pales in comparison to getting a newer edition with extra stuff in it. This would be similar to buying the indie label version of a kick-ass album and feeling really smug about it when you hear it’s going to the majors, and then you discover that the major label release comes out with a bonus disc of unavailable b-sides and a DVD of a full length concert. Where’s my cachet now?

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orange.jpgSOUNDTRACK: CHAVEZ-Better Days Will Haunt You (2006).

chavezz.jpgI first fell in love with Chavez when I saw a video for their song “Break Up Your Band.” I loved the video, and loved the music. And, I basically became of fan of them because of this video, which I think I must have seen on 120 Minutes, way back when. Turns out that my memory of this video is the equivalent of my memory of Good Omens (cf. Good Omens). The video is on the DVD that comes with this collection, and wow, I don’t recall the video looking like that at all! Huh, clearly I am an unreliable narrator.

Chavez is such a great noisy dissonant band. Squealy guitars, weird tempos, and noise, noise, noise. Fun! But what’s really fun is their cover of “Little Twelvetoes,” a song from the School House Rock oeuvre. This song is SO bizarre, and that’s even before Chavez gets their hands on it. The premise is that people from other planets with six fingers and toes and each hand and foot could count to twelve as easily as we count to ten. And, they made up two new numbers that would fill in the gap between nine and ten so that their twelve could be our number 10. Therefore, they could just add a zero when multiplying by 12. Or something.

(more…)

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good.jpgokonokos1.jpgSOUNDTRACK: MY MORNING JACKET-Okonokos (2006).

[READ: Summer 2006] Good Omens.

This book is precisely what this blog is all about.

Fascinating back story: I had read Neil Gaiman’s Sandman graphic novels and really enjoyed them. In fact, they are what got me into graphic novels in the first place. So, when I saw that he had written a book I thought I’d check it out. It turned out to be co-authored by some guy named Terry Pratchett. Now here’s the funny part. There is a fog on my memory. And then suddenly I am reading Terry Pratchett’s first novel The Colour of Magic in a warehouse in Cambridge, Ma. (more…)

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