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Archive for the ‘Cancer as plot device’ Category

ja1SOUNDTRACK: HAIM-Tiny Desk (Home) Concert #34 (June 17, 2020).

haimWhen Haim first came on the scene they were marketed as a kind of hard rocking sister act.  So when I heard them I was really disappointed because they are anything but hard rock.  In fact this Tiny Desk (Home) Concert shows just how nicely their music works as  kind of poppy folk songs.

I haven’t really liked most of their songs, but I do like first and third in this set (I was unfamiliar with the middle song).

“The Steps” is like a classic rock song that’s been around for ever.  “The sunny, take-no-prisoners assertion of independence of “The Steps” recalls the soft rock jams of their earlier albums.”  The very cool sounding lead guitar riff that opens the song is definitely missed in this version, but the song itself is really solid and their harmonies are lovely.  The bass is mixed too loudly in this song, which is a bit of a shame since the rest sounds so good.

Strangely, it’s only Danielle who speaks and introduces only herself.  So you need the blurb to tell you that on her left is her sister Este Haim (bass, keyboard, drum pad, vocals) and on her right is her sister Alana Haim: (guitar, vocals, bongos).

The second song is “the muted techno glimmer of ‘I Know Alone.'”  Este switches to keys, Danielle switches to a rhythm machine and keys and whole Alana keeps the acoustic guitar she is also playing keys.  I think she keeps the guitar for one dramatic harmonic moment..  This song is kind of bland–not much really happens in it.

In comes Henry Solomon (the screen splits into four) to add saxophone for the final song “Summer Girl,”

a song that wavers like a heat mirage reflected off New York’s summer sidewalks, thanks to Henry Solomon’s whisper-toned sax.

I had no idea this song was HAIM  I recognized that saxophone melody immediately and have hear it many times on the radio.   Once again the bass is too loud, which is a bummer since this song is so chill. This song also feels like it has been around forever–there’s a real timeless quality to it.

HAIM recorded its Tiny Desk set before the death of George Floyd, and released “Summer Girl” last year. The world has changed a lot in that time. With its opening line — “LA on my mind, I can’t breathe” — “Summer Girl” becomes another piece of music that takes on a parallel meaning in the evolving social and political landscape of 2020.

I didn’t enjoy Haim’s early stuff, but I have come around on this album.

[READ: June 19, 2020] “Free”

This was a short story about who love ages.

Henry was married to Irene, but he was having an affair with Lila, who was married to Pete.

Irene was stuffy, very proper.  Lila, by contrast, once stripped off all her clothes and skinny dipped into a cold lake in front of him–“her bottom a sudden white heart split down the middle, in his vision.”  Lila lived in the now and gave herself to him completely.  But Henry “was no good at adultery…because he could not give himself, entirely, to the moment.” (more…)

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SOUNDTRACK: THE BANANA SPLITS-“The Tra La La Song (One Banana, Two Banana)” (1968).

traOf all the bubblegum pop songs, this is probably the one I know the best.

I was surprised to discover that the song and TV show were from 1968, because I used to watch it all the time.

But I see that the series originally ran from September 7, 1968 to September 5, 1970, but then it was in syndication from 1971 to 1982, which is when I watched it.  Amazingly, it was in syndication for 11 years and there were only 31 episodes made.

Is there anything catchier than a bunch of people singing tra la la, la la la la?

And then the lyrics couldn’t be simpler:

One banana, two banana, three banana, four
Four bananas make a bunch and so do many more
Over hill and highway the banana buggies go
Coming on to bring you the Banana Splits show
Making up a mess of fun
Making up a mess of fun
Lots of fun for everyone
Four banana, three banana, two banana, one
All bananas playing in the bright warm sun
Flipping like a pancake, popping like a cork
Fleegle, Bingo, Drooper and Snork

This was the theme song for the TV show.  It was a minute and a half and is insanely catchy.

The Dickies did a punk cover in the 1970s, which doesn’t sound very different from the original, expect that instead of bright keyboards, the music is all guitars and drums.  It is faster-paced and yet longer because of a guitar solo and some extra sing along parts.

For those unfamiliar with the show, the Banana Splits were:

  • Fleegle — A greenish-brown dog wearing a large red bow tie, black buttons, brownish-orange chucks, with his tongue is always sticking out. He plays a guitar and sings.
  • Bingo — A nasal-voiced orange gorilla wearing white glasses and a yellow vest, featuring a toothy grin. He plays drums and sings.
  • Drooper — A lion with a very long tail wearing yellowish-orange glasses, spats on his feet, and speaks with a Southern drawl. He plays a bass guitar and sings.
  • Snorky — A mute furry elephant wearing pink glasses. He becomes a regular elephant in season 2, wearing a green vest with yellow stripes. He communicates through honking sounds akin to a clown horn, and one of the other Splits would translate what he is saying. He plays a keyboard.

What a great time to be a kid.

[READ: June 8, 2020] Bubblegum Week 5

Over at the Infinite Zombies site, there was talk of doing a Quarantine book read.  After debating a few books, we decided to write about a new book, not a book that everyone (or some people) had read already.  This new book would be Bubblegum by Adam Levin.  Many of us had read Levin’s massive The Instructions which was not especially challenging, although it was a complex meta-fictional story of books within books.  It was kind of disturbing, but also rather funny and very entertaining.

So I’ll be posting weekly ideas on this schedule

Date Through Page
May 11 81
May 18 176
May 25 282
June 1 377
June 8 476
June 15 583
June 22 660
June 29 767

A Fistful of Fists is a Handful

After the academia and “high brow” thoughts of Triple J’s essays, this week’s transcription of Triple J’s film A Fistful of Fists: A Documentary Collage is rather tough reading.  It reminded me of reading something like David Foster Wallace’s Brief Interviews with Hideous Men or Roberto Bolaño’s 2666 (The Part About the Crimes) in that there’s some really horrible things to witness but their inclusion serves to prove a point and even to further the plot and fill in some gaps.

A Fistful of Fists is a collage of twenty-seven short films all about the joy of killing cures.  The transcription is a print version of what is seen on the videos, sometimes in graphic detail.  Scenes of it reminded me of some of the “torture porn” stories that were trendy a while back. (more…)

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SOUNDTRACK: THE FUN AND GAMES-“Elephant Candy” (1968).

indexI’d never heard of The Fun and Games before looking up this bubblegum pop song.

Amazingly there were six members of the band (and none of them were cartoons).

The band members and name were constantly in flux and they released only one album, Elephant Candy in 1968.

“Elephant Candy” is a two and a half minute pop delight.

The main music of this song sounds almost like the music of a merry-go-round–a kind of sugar-coated pipe organ.

The song opens with the preposterously catchy “elephant elephant candy did you know that elephants can be fun eating candy on the run.”  The second go-round features backing vocals of a steady “Ahhahahh” that sounds simultaneously unsettling and catchy: kind of like a fun house mirror.

The verse seems like its just an opportunity to pause in between the next appearance of the chorus.

If that weren’t catchy enough, the song moves up a step so it’s even more treacly. Somehow, the song even has time for two keyboard solos.

[READ: June 1, 2020] Bubblegum Week 4

Over at the Infinite Zombies site, there was talk of doing a Quarantine book read.  After debating a few books, we decided to write about a new book, not a book that everyone (or some people) had read already.  This new book would be Bubblegum by Adam Levin.  Many of us had read Levin’s massive The Instructions which was not especially challenging, although it was a complex meta-fictional story of books within books.  It was kind of disturbing, but also rather funny and very entertaining.

So I’ll be posting weekly ideas on this schedule

Date Through Page
May 11 81
May 18 176
May 25 282
June 1 377
June 8 476
June 15 583
June 22 660
June 29 767

Sometimes One Looks Like The Other, Bad Taste and Stupidity

This weeks reading was really intense.  It also showed things that I never imagined would come up.

  • A lengthy and carefully edited suicide note.
  • A lengthy treatise on transgendered persons/prostitution/homosexuality
  • Academic papers that are simultaneously well-written and yet obviously the work of a child.

Part Two, Section 5 of the book is called “Letters and Facts.”

This was an interesting place to stop/resume reading because, although they reference the same incident, the beginning of this section differs from the end of the previous section.  (more…)

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SOUNDTRACK: ANGELICA GARCIA-Tiny Desk Concert #968 (April 15, 2020).

I saw Angelica Garcia open for Phoebe Bridgers.  Her show started off okay but she totally won me over by the end.  She played guitar, she looped her voice and synths and was really impressive.  She also sang some songs in Spanish.

Well, two years later, Angelica Garcia is very different.

The biggest change is the amount of color she has added (when I saw her she was in a black floral print dress).  She is also embracing her heritage a bit more than when I saw her.  It was present then, but it is way out in front here.

Angelica Garcia decorated the Tiny Desk with colorful fabrics, orange flowers, a fuchsia dress, and a great deal of pride in what she calls her “Salva-Mex-American” heritage. Her song “Orange Flower” got my attention back in 2016, but I thought of her only as a Virginia rock and roller. Not anymore. Angelica Garcia’s music in the 2020s embraces her heritage, her life growing up in Los Angeles, and the ranchero music she heard from her family.

The show opens with a sample of a high pitched voice (presumably hers) saying “I wanna be like her.”  It works as a repeated sample in “Guadalupe.”  In this song

Angelica expresses respect for La Virgen de Guadalupe, the patron saint of Mexico, singing “I wanna be like her.” Guadalupe inspires her to declare that “power isn’t defined by your physique.”

But power comes from the loud rocking guitars from John Sizemore (what a great raw sound).  Josh McCormick plays big electronic drums, including some electronic cowbells.  In between the power chords, the melody is provided by a quiet and interesting keyboard sound from Ryan Jones

And let’s not overlook Garcia’s impressive voice.  She has power and a lot of diversity in her delivery.  She might even sound better than she did when I saw her.

The middle of the song has a breakdown where she and percussionist Kenneka Cook sing together a kind of scat.  Anchoring all of this is really great bass sound from Chrissie Lozano.

For “Valentina in the Moonlight” Angelica plays the quieter guitar melody (she’s really good).

This song is slower and quieter, a love song.  When the whole band kicks in, the song gets really full, with quiet guitar chords from Sizemore, while Garcia plays the main melody.  You can clearly hear Lozano’s nice bass sound in this song.

Angelica moved to Virginia at age seventeen. The songs she sings at the Tiny Desk, all from her album Cha Cha Palace, reflect the way she was seen, or more to the point, not seen, in her new home. “Jícama” captures that feeling of invisibility:

“Jícama” starts out with cha cha sounds.  Angelica sings with a pronounced accent.  I really like the splash cymbal sounds that accent her song.  When the whole band kicks in there’s a real Tex-Mex vibe  which feels like a children’s song melody, perhaps the best way to get the message across

“I see you, but you don’t see me
Jícama, jícama, guava tree
I been trying to tell ya but you just don’t see
Like you, I was born in this country.”

Angelica Garcia has definitely changed.  And for the better.

[READ: May 2, 2020] Strong Female Protagonist

Strong Female Protagonist is a webcomic which is on hiatus (although I don’t know for how long).

We’ve had this book floating around the house for a while and I’ve been meaning to read it.  I loved the title–so simple, so terrific.  I finally grabbed it off the shelf and decided today was the day.

I didn’t really know what the story was about and I found myself very surprised.  This proved to be a superhero story with a difference–a huge difference.  Both the origin story of the superpowers and the exploration of the ethics of superpowers are handled in a very different way.

One oft he big differences right up front was the language–these people say bad words… a lot.  It’s while reading this book that you realize you’ve never heard Superman or Spiderman say “fuck.”  But then these superheroes are not superheroes in the conventional sense. (more…)

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  SOUNDTRACK: THE-DREAM-Tiny Desk Concert #886 (August 30, 2019).

I had never heard of The-Dream and couldn’t imagine why the name was hyphenated.  Turns out The-Dream is an R&B singer with a kind of gentle falsetto (not too high, but higher than expected).  The blurb says: “The-Dream delivered his lyrics with that signature high-pitched whisper, just shy of a falsetto..”

He’s also written hits

for the likes of Beyoncé (“Single Ladies”) and Rihanna (“Umbrella”).

and apparently he is a big deal.

R&B hasn’t sounded the same since The-Dream changed the game. Maybe growing up off Bankhead on Atlanta’s west side gifted him with a hip-hop swag native to the soil. Indeed, it’s worth remembering that he preceded the current era of melodic, sing-songy rappers who disregard traditional lyricism for raw, heart-rending delivery.

All three songs here are about getting into the bedroom as one might guess from the title of his album: Ménage à Trois: Sextape Vol. 1, 2, 3.

The first song “Bedroom” (calling all bodies to the bedroom) is soft and steamy.  It’s also got some humor

All ladies read before 11
So you got all day to get your mother-n’ nails done
I know you soak that thing ’round 7
And it’s already 4, go get your mother-n’ hair done
Ooh, you look so sexy
Come and bless me

[I found out later that these lyrics are cleaned up for Tiny Desk].

There’s gentle horns from DeAndre Shaifer and Theljon Allen (trumpet) and Elijah Jamal Balbed (saxophone) and a smooth bass line from Justin Raines.

He is also amusing at the end of the song:

“It’s kinda hard to sing like that with the daylight out,” The-Dream said after finishing the first number in a steamy set of songs more appropriate for the bedroom than the sunlit cubicles of NPR.

“Back In Love” has more simple echoing synths (from Carlos McKinney) and spare drums (from Larone “Skeeter” McMillian) and with some clever rhyming:

I miss that body in the hallway
I used to meet that body in the foyer
If you were right here, we’d have to skip the foreplay

and

I was mad at you, you was mad at me
C’est la vie, arrivederci
Still, all I loved was you

“I Luv Your Girl” is a less of a sexy song and more of a stealing-your-shawtie kind of song.

I hate the adenoidal “ahhhhh.” that apparently indicate sex, but the lyrics are pretty funny nonetheless.  Actually in looking at the actual lyrics I see that he has really made himself more PG-13 than X-Rated on these songs.

And she runnin’ Fingers through her hair, tryin ta call her over there but she like, Na Na Na Na!
She drop it down to the floor, I’m sayin shorty you should go, and she like Na Na Na Na!

Those na na’s are an amusingly safe version of the actual lyrics.  And after listening to the actual song, I found even the original to be kind of funny-while he’s stealing your woman.

As with a lot of R&B I prefer the Tiny Desk version because it’s much less produced.  Of course I still don’t know why there’s a hyphen in his name.

[READ: October 14, 2019] “Sinners in the Hands of an Angry God”

This is a dark story (very Joyce Carol Oates) about the environment and how you can no longer flee to the country to get away from pollution–or worse.

It begins enigmatically with

“This matter of the mask for instance.”

Luce sometimes wears the mask–a half mask, green gauze mask–but never outside of the home.  She wore it any time the wind “smelled funny,” “smelled wrong.”  Especially from the industrial cities to the South.

She removes it if Andrew comes home. When he sees her he claims she is “catastrophizing” (Is that even a word?). (more…)

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coverSOUNDTRACK: RA RA RIOT-“Endless Pain/Endless Joy” (2019).

indexIn 2007, Ra Ra Riot released an album of chamber pop loveliness.  There were strings and lots of soaring melodies.  The songs were gentle and sweet and the lyrics were thoughtful.

Twelve years later and I would never have guessed this was the same band.

“Endless Pain/Endless Joy” starts with crashing drums and a fast bass line.  The lyrics are sung in his high register but they are almost whispered, or at least sound like they are far away.  After the first verse, the bass doubles down and the rumble grows.

When the chorus finishes, the guitars come clanging in, angular and discordant, playing a clash of sounds for a few measures before departing.

The second half of the song increases the urgency with the fast paced drums and bass, but it adds lots of backing sounds–synth stabs, guitar swirls and other noises until, with ten seconds left, that clatter comes back–crashing through to the end.

It’s largely the same band members, but wow, what a difference a decade makes.

[READ: August 20, 2019] “Floating Bridge”

Neal and Jinny have been together for over 20 years.  Jinny is 42 and Neal is 16 years older.  She always assumed she’d outlive him. Then she got the news.

The oncologist said the news wasn’t great.

Neal went to pick yup the girl who would be staying with them to help out.  He knew her because she worked in the kitchen of the The Correctional Institute where he worked.

The girls’ name was Helen.  She was tough but Neal tried to break through her shell–that’s the way he was. (more…)

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SOUNDTRACK: CITIZEN COPE-NonCOMM (May 15, 2019).

I was marveling at the set lengths that various artists get at NonComm.  Most are pretty short (around 20 minutes).  So I was pretty surprised to see that Citizen Cope got 40. I thought Citizen Cope was a fairly new artist (although XPN talks about him a lot).

I was surprised to see that

Singer-songwriter Citizen Cope, otherwise known as Clarence Greenwood, has been around for close to two decades [and his fans were] ready to embrace his colorful blend of blues, folk, and rock.

I don’t especially like Citizen Cope’s music.  It’s okay and much better in small doses.  But I am especially amused at the write up of this concert because I feel like the person there was listening to a very different show than I was.  He opened

with the driving, upbeat “Let The Drummer Kick.” A fan favorite, the tune had everyone jumping.

I kind of like the song, although I would never describe it as upbeat.  His delivery is extremely drawly with him mostly him slowly rhyming words that end with “tion”: Equation / Humiliation / Reincarnation / Situation and a chorus of him repeating the title.  It’s kind of interesting but hard to believe he built a five-minute song out of that.

From there, he transitioned into “The River,” a new cut off of Heroin and Helicopters, his first release in six years. The song’s somber lyrics drifted on as the band played with grace.

This is a very funny description.  The lyrics do seem to drift on (as most of his lyrics so).  It’s hard to say the band plays with grace.  They play fine though.

“Justice” is a song that gets a lot of airplay on XPN.  It’s in the same style as his other songs–slow and kind of downbeat.  Although the chorus is pretty catchy.  I also like the psychedelic musical interludes.

“One Lovely Day” is a quieter song that begins with just him on guitar but when the band joins in, it sounds like the others.

Cope could not go without playing cuts from his 2004 record The Clarence Greenwood Recordings, of which he features “Son’s Gonna Rise” and “Sideways.” Both tracks transitioned perfectly from one another, matching the energy and vibe the crowd was looking for.

“Bullet & a Tart” picks up the pace somewhat although it’s not a very dramatic change.

As Cope finished, he shared an anecdote that inspired the title for his album — Carlos Santana warning Greenwood to stay away from the “two h’s,” heroin and helicopters, two things that historically and tragically claim the lives of musicians. The message resonated so strongly with Cope that he went on to name it his album, which was just released on his label Rainwater Recordings.

As Cope’s set drew to a close, he ended with another single off of his record, titled “Caribbean Skies.” This song’s lively beat and catchy hook moved the crowd.

“Caribbean Skies” is certainly catchy.  But again, not in any way lively.

This set is kind of monotonous, and I won’t be a Citizen Cope fan anytime soon, but clearly he doesn’t need me either.

[READ: May 20, 2019] “Forecast from the Retail Desk”

I typically enjoy Rick Moody stories, but I found this one really puzzling and hard to get into.

It begins with the (probably true) statement: “Nobody likes a guy who can foretell the future.”  The narrator, Everett Bennett works at a retail desk for some kind of investment firm.  He says he is not well liked at work and his job is surely the first to be made redundant.

His first demonstration of his prophetic skills came in school, in 1977.  He was in a lab with Bobby Erlich.  Erlich didn’t like him (nobody really did).  Bobby wouldn’t talk to him or collaborate in any way, so the narrator had to tel him straight up: “You’re going to be maimed in a horrible motorcycle accident. It’s really going to hurt too. Just remember we had this chat.”

Bobby replied, “You know what Bennett, I always thought you were a jerk. And I was right.”

Bobby doesn’t get into a motorcycle accident although he is in a car accident several years later.  He is making out with a policeman in the man’s car when it is hit by another car.  Everett had to wonder if he somehow caused the accident with his prediction. (more…)

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SOUNDTRACK: NEGATIVLAND-Helter Stupid (1989).

Helter Stupid was the follow-up to Negativland’s “smash hit” (maybe 10,000 copies sold?  I have no idea) Escape from Noise.

It is a concept album based on a hoax that they perpetrated.  Wikipedia summarizes:

In 1988, the group released a mock press release to suggest that the song “Christianity Is Stupid” was connected to murders by David Brom, and that the group was forced to cancel a planned tour in support of Escape from Noise. However, there were no connections with the murders, and the tour was cancelled only due to shortage of funds and free time. Their next album, Helter Stupid, made use of the event by sampling news reports of the controversy surrounding Negativland.

So they generated their own controversy and then made art from it.  Can you imagine the attention that would get in 2019 compared to the minor coverage they got in 1989?

The first half of the album is composed of the tracks “Prologue” and “Helter Stupid” which form an extended piece lasting over 22 minutes. The concept, and some of the sampled material, came from a San Francisco television news program that was taken in by the media hoax. Other samples used included those from Rev. Estus Pirkle (further samples from the same sermon used in “Christianity Is Stupid”), an interview with Charles Manson, and “Helter Skelter” by The Beatles.

The disc opens with a man reciting lewd(ish) rock lyrics.  Then comes clips of ads for murder movies–murder, mayhem, marauding!

The prologue continues with extended samples of the news reports that talks about them being connected to the murder case.  At the end of the track a phone rings.

Song 2 begins with a call from Rolling Stone asking if there is any backward masking on “Christianity is Stupid.”

The rest of the 18 or so minutes is a mashup of all kinds of samples, spliced and cut up.

we don’t have enough data ; S-I-M-P-L-O-T ; murder and music–this isn’t the first time controversial music has been linked to tragedy.  A lengthy quite from Charles Manson and one from John Lennon

There is section where engineers hear something on a tape when you run it backwards–play it backward and you hear (rather amusing) evil messages.

Then comes the riff of Helter Skelter with The Beatles singing Helter and then “Stupid” sampled over “Skelter.”  The middle of the track goes on to emphasize how stupid the controversy is by continuing to use the “stupid” sample in all places

It’s believed night stalker suspect Richard Ramirez was influenced by AC/DC’s Highway to Stupid album. Ozzy Osborne song “Stupid Solution” became the focal point of an actual stupid case involving a Southern California teenager

And then a clever splice to create: “Christianity is triggering the murders.”

It’s intense and thought provoking and sometimes funny.

Side Two is completely different.  There’s 7 tracks all called “The Perfect Cut” with different parenthetical names after each one.  It’s introduced as Dick Vaughn’s Canned Music Moribund Music of the 70s, brought to you in authentic 70s stereophonic format with music, news reports, contests, and more.  The tracks contain samples from “The Winning Score”, a 1977 presentation by TM Century, producers of radio jingles and imaging.

“The Perfect Cut (Canned Music)” talks about short IDs and promos for radio and loops the phrase “execute a perfect cut.”

“The Perfect Cut (Rooty Poops)” features someone talking about being the greatest radio personality in the world.  He then says he spins the dial and finds nothing good–what a bunch of rooty poops.  There’s lots of samples from 70s funk and the absurdly high note of “Loving You.”  There’s also a bit of Casey Casem.

“The Perfect Cut (Good as Gold)” is all about “staying power and the announcer wondering who will still be around 7 years from now in 1992.  Their list: Bruce Springsteen will not burn out’ Prince (unless he gets a whim and decides to drop out of music) ; Michael Jackson ; Lionel Ritchie ; U2 ; Bryan Adams ; Talking Heads; Eurhythmics.  [That list was about half right].   There are samples of : Fragmentation and standardization.

“The Perfect Cut (Piece of Meat)” mostly features a sample of someone growling “I’d like a piece of meat.”  And the admission that the music industry suffered from denationalization but it became big business.  All of this over disco bass and strings.

“The Perfect Cut (White Rabbit And A Dog Named Gidget)” opens with a high school student saying “I’d like to become a lawyer and go to UCLA.   I hear it’s got nice weather and lots cute guys.  I’d like a white rabbit convertible a dog named Gidget.  The most important thing in my life is to go to heaven when i die.”  There’s more Casey Casem talking about learning to appreciate new music.

“The Perfect Cut (11 Minutes)”  A Top 40 listener’s average listening span is only 11 minutes.  Jingles need to be shorter and more frequent.  A shotgun intro with accents on each of your call letters.   I enjoyed hearing this promo.

LPs sale priced at $2.66. 8-track tape $4.44 including this Billboard toppers: The Jackson 5, The Carpenters, Elton John, Neil Young,Cat Stevens, Black Sabbath, James Taylor, Ike & Tina Turner.

There’s also this news headlines for Dec 1978–the average price of gas soars to 76 cents per gallon (!).

Dick Vaughn–From Jan 1, 1970 to Dec 31, 1979, we’ve got your moribund music.

“The Perfect Cut (48 Hours)” is inspired by an ad “You’ve got 48 hours to save a lot of money.”

Someone says it’s so annoying I used to shut the radio right off.  Then there’s silence for 10 seconds followed by, “just when you thought it was safe to turn on your radio.”  And the promise/threat: “Nothing happens until someone buys something.”

The Weatherman shows up to talk about “sewer mouth.”

And then there’s this gem: Take 2 high quality stereo LPs, put them in a full-color jacket, add a beautiful sexy gal on front and candid photos of the KQ jocks inside and you’ve got a bombshell [EXPLOSION].

This is a fun and interesting experiment.  Some tracks do actually bear repeated listening to hear just what they’re trying to do.

Personnel: Richard Lyons (credited as “Dick Vaughn”) ; David Wills (uncredited) ; Don Joyce (uncredited) ; Mark Hosler (uncredited) ; Chris Grigg (uncredited)
Musical Samples The Beatles – “Helter Skelter” ; King Floyd – “Groove Me” ; Carol Douglas – “Doctor’s Orders” ; Minnie Riperton – “Lovin’ You” ; Tavares – “Heaven Must Be Missing an Angel” & “It Only Takes a Minute” ; Zapp (unidentified) ; Brothers Johnson – “Strawberry Letter 23” ; Brick – “Dazz” ; Natalie Cole – “This Will Be” ; Joe Tex – “I Gotcha” ; Donna Summer – “Love to Love You Baby” ; Bebu Silvetti – “Spring Rain” ; Bill Summers & Summer Heat – “Jam the Box” ; Mungo Jerry – “In the Summertime”

[READ: April 20, 2019] “The Seven Circles”

This story started as one thing and then turned into something else very dramatically.

It begins with Vinod completing his B. Com and being told by his parents that he should get ready for marriage.  They had the girl picked out and since he had no objection to her, they went ahead with the plans.

He found himself at his future in-laws looking at the gifts that his bride-to-be, Sheetal, would bring with her.  He glanced at her during this surveying of the gifts and he was sure he saw her looking back at him with distaste.

He desperately tried to get her to look at him over the next few weeks, but even during the ceremony she would not look him in the eye.   He thought about running away during “the seven circles” of the ceremony, but he went through with it.

That first wedding night was awkward as they slowly got to know each other.  The had a little, but not much, in common.  And he didn’t even consider doing anything physical.  He did manage to get one kiss in before the night was over. (more…)

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SOUNDTRACK: RHEOSTATICS–Humanities Theatre Waterloo ON (January 24, 1997).

Just as I was finishing up all of the newest live Rheostatics recordings, Daron posted a dozen or so more.

This is a pretty awesome soundboard recorded show just following the Rheos tour with The Tragically Hip and about 4 months after the release of The Blue Hysteria. One of the best versions of A Mid Winter Night’s Dream I’ve ever heard. As you can see on the DAT it used to be called Winter’s Tale. People From Earth opened the show. NB both First Rock Concert and RBC are incomplete recordings.

People from Earth opened.

After listening to all of those new recordings, it’s fun to go back to 1997 before they had broken up, while they were touring The Blue Hysteria.  It’s also a little surreal to not really hear the crowd (because this is a soundboard).

This recording is 90 minutes (which means either they were playing shorter shows back then or a lot of it was cut off (which seem more likely).

Martin sounds great, playing a rather slow and hushed version of “California Dreamline.”  I like the way the washes of guitar noise segue in to the acoustic guitar of “Claire.”  Throughout the show I couldn’t help noticing how young Tim sounds (far more so than the other guys).

After a trippy “Digital Beach,” they segue into “Earth/Monstrous Hummingbirds.”  It’s one of their weirder songs with lots of different parts.  It sounds great–certainly a peak time for this kind of song.

There’s a fun boppy version of “Introducing Happiness”–Tim seems to be having a lot of fun with the song.

Dave Bidini says that last night, Martin talked the longest on stage ever in his life before introducing this next song.  “You probably read about it on the internet or something.”  Martin says, “I enjoyed it so much I can’t do it tonight.”  He says that the recording of “Motorino” features the host of channel 47 show Jump cut for young Italian Canadians.  That’s Felicia.  She spoke (rapidly) in Italian for the record.

It’s interesting that this is the first song they’re playing off of the new album and they don’t mention it as such.

“Four Little Songs” is still new so they don;t get too crazy with it, although Martin has fun singing his part.   Dave would like to dedicate his fourth little song to our backdrop the newest member of the Rheostatics.  It’s the angry chickadee or two fish kissing.  Dave asks Tim, “who would win in a fight?  Angry Chickadee or Monstrous Hummingbird?”  Tim: “How big is monstrous?”  Martin: “Like Mothra.”

After not playing anything from Blue Hysteria, the play six new songs in a row.  Martin introduces “Sweet Rich Beautiful Mine” as a song “about trying to help someone that you’re in love with….stop killing themselves.  Sorry.”  It’s wonderfully intense and the harmonies are outstanding.  The sound of the guitar taking off half way through is tremendous and Martin hitting those falsetto notes gives me goose bumps.

“Fat” “is as song about having a best friend” (Dave says). It opens with a great slinky bass and Martin saying more drama on the lights–get rid of those white ones.   More great backing vocals from Martin.  It’s followed by Tim’s delicate “An Offer.”  Tim;s voice seems to be much higher than in 2017.

The band loves talking about playing in Kitchener (they are still doing it in 2017).  In 1982/1983 they played there at the Kent Hotel which was a strip joint.

“A Midwinter Nights Dream” is an absolutely stunning flawless performance.  The crowd is great, the band is on fire and it sounds amazing.  This has become one of my favorite Rheos songs and I love hearing it live (even if Dave doesn’t know what it’s called).

This song “Bad Time to Be Poor” is getting played on rock n’ roll radio (but it’s not its commercial radio).   We get invited to radio stations named after animals: The Bear, The Lizard, The Fox, The Marmot (that’s in St. John).  Now we’re getting a lot of guys dressed in denim coming to our shows.  So we’re broadening our horizons.   If someone sparks up a joint, don’t blame the song, blame commercial radio.

There is a rocking and fun “Dope Fiends” to end the set.

They come back for the encore and this recording cuts off the opening of “My First Rock Concert.”  But Dave has fun explaining a lyric.  When his friend was “on his back” it was a popular dance of the time called the worm.  Then they talk about people swan diving to them when they get famous.

The recording ends with “Record Body Count.”  It ends early, but has a nice fade at least.

This is, indeed a great show.

[READ: December 2018] Let’s Start a Riot

I just have to look at Bruce McCulloch on the cover of this book and it makes me laugh.  McCulloch has played some of my favorite characters on Kids in the Hall (although I could never pick a favorite).  But he is especially good at being an asshole.   A very funny asshole.

And what better sums up Bruce than this:

Ever feel like you were once young and cool and then you woke up in the middle of your life, emptying the dishwasher?

What could this book be about (and how did I not even hear of it when it came out?).  Well the answer to the first question is in the subtitle.  There’s no answer for the second one.  But there is an introduction to the book by Paul Feig (which has nothing to do with either of these questions).

Bruce says he always dreamed of writing a book.  “One day.  When I was old.  Luckily, and unluckily, that day had come.”  When he told his family his wife and children Roscoe and Heidi (five and seven, he thinks), they wonder what he’ll write about.  He tells them that he will write about how he was once a young angry punk who crawled out of a crappy family, had this silly show on TV then somehow became a happy man with a pretty good family.  “Why would anyone want to read that?” Heidi asks. (more…)

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SOUNDTRACKSPACEFACE-Christmastime is Here (2018)

Spaceface is a project of one of the musicians from The Flaming Lips, Jake Ingalls.  I’m not sure which guy it is (I’ve seen them several times when he has played, but I can’t really tell all the dudes apart).  Spaceface has played a few shows near me but I have yet to be able to get to one.  I’m told their lives shows are amazing (especially given their budget).

They’ve released an album and a bunch of EPS and now they released this Christmas single.

This is a pretty trippy version of the song from A Charlie Brown Christmas.  It’s slow and with a decidedly Flaming Lips vibe (which makes sense).  There’s a second version on the bandcamp site which is all instrumental.

Depending on how much you like the fuzzed out and echoing (but not harsh) vocals, you can pick one or the other–the music is memorable either way.

[READ: December 2, 2018] “Snatching Bodies”

Once again, I have ordered The Short Story Advent Calendar.  This is my third time reading the Calendar (thanks S.).  I never knew about the first one until it was long out of print (sigh).  Here’s what they say this year

Fourth time’s the charm.

After a restful spring, rowdy summer, and pretty reasonable fall, we are officially back at it again with another deluxe box set of 24 individually bound short stories to get you into the yuletide spirit.

The fourth annual Short Story Advent Calendar might be our most ambitious yet, with a range of stories hailing from eight different countries and three different originating languages (don’t worry, we got the English versions). This year’s edition features a special diecut lid and textured case. We also set a new personal best for material that has never before appeared in print.

Want a copy?  Order one here.

Like last year I’m pairing each story with a holiday disc from our personal collection.  Although this weekend, I’m pairing them with recently released songs from bands I like.

This is a story that uses Invasion of the Body Snatchers as a central frame of reference.  Interestingly for me, I didn’t know that there was a version before the 1978 version that I know (although not well).  Fresán is referring  to the 1956 version which his narrator says he knows by heart, like Shakespeare.

The epigram even comes from the movie: At first glance, everything looked the same.  It wasn’t. (more…)

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