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Archive for the ‘Curses’ Category

 SOUNDTRACK: THE REDNECK MANIFESTO-The How (2018).

Despite a terrible name that would keep me away from wanting to see them, The Redneck Manifesto are a very interesting and complicated band.  I discovered them through the book of Irish drummers.  TRM drummer Mervyn Craig is in the book.

The How is the band’s fifth album (and first in eight years).  The album is chock full of instrumentals that touch all genres of music.

There are jazzy elements, dancey elements and rock elements.  There are solos (but never long solos) and jamming sections.  Most of the songs are around 4 minutes long with a couple running a little longer.

“Djin Chin” has jangly chords and quiet riffs that switch to a muted melody.  All the while the bass is loping around.  It shifts tempos three times in the first two minutes.  Around three minutes the bass takes over the lead instrument pushing the song along with deep notes.

“The Rainbow Men” has a circular kind of riff with swirling effects that launch the song during the musical pauses.  After a minute and a half it drastically shifts direction and the adds in a cool solo.

“Sip Don’t Gulp” starts with a catchy bouncy guitar riff and bass lines.  At two minutes it too shifts gears to a staggered riff that sounds great.

“Kobo” is the shortest song and seems to tell a melodic story.  The two guitars play short, fast rhythms as call and response while the bass rumbles along.

“Head Full of Gold” is over 6 minutes with a thumping bass, rumbling drums and soft synths.  “No One” is nearly 7 minutes and feels conventionally catchy until you try to keep up with the beats.  After a middle series of washes from various instruments, the back half is a synthy almost dancey rhythm.

“Sweep” is a pretty song until the half-way mark when it just takes off in a fury of fast drumming and complex chords.  The end builds in upward riding notes until it hits a calming ending

“We Pigment” is a poppy staccato dancey number.  The second half turns martial with a series of four beat drum patterns and a soaring guitar solo.  More staccato runs through to the end.  “The Underneath Sun” also has a lot of staccato–fast guitar notes interspersed with bigger chords.  The end of the song is just littered with sweeping guitar slides until the thumping conclusion.

This album is great and I’m looking forward to exploring their other releases.

[READ: January 10, 2021] A History of Ireland in 100 Words

This book looks at old Irish words–how they’ve evolved and how they show the way Irish history came about.  The authors say:

our store of words says something fundamental about us and how we think.  This book is meant to provide insights into moments of life that may be otherwise absent from history books.  The focus is on Gaelic Ireland throughout as Gaelic was the native language of the majority of the inhabitants of the island for the last 2000 years. It yielded its primacy to English only in the last 150 years.

We selected words with the aim of illustrating each of our themes as broadly as possible.  We wanted the words in all their richness to tell their story … like how the word that originally meant noble came to mean cheaper (saor).

Almost all of the entries reference The cattle raid of Cooley (The Ulster Cycle) which features the hero Cú Chulainn.  This story is at the heart of most of historical Ireland and it’s pretty fascinating how many of these Gaelic words either originate with that story or get their foundation from the story.

There’s a general pronunciation guide although I wish each word had a phonetic guide because anyone who speaks English will look at Irish a if it is just a jumble of nonsensical consonants.

The book is broken down into sections, although the authors insist that there is no correct way to read the book.

  • Writing and Literature
  • Technology and Science
  • Food and Feasting
  • The Body
  • Social Circles
  • Other Worlds
  • War and Politics
  • A Sense of Place
  • Coming and Going
  • Health and Happiness
  • Trade and Status
  • Entertainment and Sport
  • The Last Word

There are also delightfully weird wood carving-like drawings from by Joe McLaren scattered throughout the book.

The words are listed below with either a definition or an interesting anecdote included. (more…)

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SOUNDTRACKSHIRLEY COLLINS: Tiny Desk (Home) Concert #109 (November 10, 2020).

There is no denying the first line of this blurb: “Shirley Collins is a legend.”  But like many legends, I find that I know of her more than I know about her.  It’s possible that I’d never heard her before this set.  And that may not be an unreasonable thing

 Her life story took the sort of twists you hear in the songs she sings, in her case, a broken heart, a painful divorce, and the loss of her voice. For 30 years, she couldn’t sing.

I don’t exactly understand what happened to her voice (that link doesn’t explain it), but her first album in over 30 years came out in 2016.

Now, here she is playing songs from Heart’s Ease, only the second album she’s made in the past 40 years. You hear her sing of a young sailor boy who saves his ship from robbers and is promised by his captain both gold and his daughter’s hand in marriage. The lad sinks the robber’s boat, only to be left to drown by that very same captain.

These unimaginable tales and that unadorned voice have influenced both British and American folk music since the 1960s, from Fairport Convention’s Sandy Denny to The Decemberists’ Colin Meloy. These tales of woe and whimsy are as timeless as Shirley Collins

So here is Shirley Collins, at 85, seated in the living room of her cottage in Lewes, East Sussex, accompanied by guitarist Ian Kearey, singing along to a few stringed instruments

She sings five songs.  At 85, her voice doesn’t sound amazing, but it does sound good.  And it’s more about the emotion she puts into these songs than the power of her voice.

She explains that in the 1950s, she took a field recording trip across the United States with Alan Lomax.  She heard “The Merry Golden Tree” in Arkansas.  It was still sung in England but had traveled across the Atlantic and then across the continent.

Kearey plays guitar for the first song, but switches to banjo for “Sweet Greens and Blues” a song her first husband Austin John marshall wrote 50 years ago.   She says the first line seems apt in 2020: “If we don’t make it this year let’s see what next year will bring.”

She heard “Wondrous Love” from a rural Alabama congregation.  The church was full of people from all over.  They sang this hymn in their old voices–“shrill and beautiful at the same time: the most incredible lovely noise you could hope to hear.”  Kearey gets a very cool metallic slide guitar sound for this song.

Before singing “Tell Me True” she tells the story of an American friend in Montana who sent her a vast British ensign flag from the Royal Navy.  He found it in a barn when he was 16 on holiday in rural Vermont.  He took it!  Now he sent it to her.  She thinks its from 1812, the Battle of Lake Champlain in vermont.  Woah

“Old Johnny Buckle” is a nonsense song, an upside down song that’s good fun to sing.  I imagine it could have been sung by Boy and Girl Scouts.  With silly lyrics like this

Old Mrs. Buckle went a’fishing one day
She caught her left leg in the clay
The toads and frogs all wobbled about
She ran to get a shovel to dig herself out

[READ: December 8, 2020] “Reflections”

This year, S. ordered me The Short Story Advent Calendar.  This is my fifth time reading the Calendar.  I didn’t know about the first one until it was long out of print (sigh), but each year since has been very enjoyable.  Here’s what they say this year

You know the drill by now. The 2020 Short Story Advent Calendar is a deluxe box set of individually bound short stories from some of the best writers in North America.

This year’s slipcase is a thing of beauty, too, with electric-yellow lining and spot-glossed lettering. It also comes wrapped in two rubber bands to keep those booklets snug in their beds.

As always, each story is a surprise, so you won’t know what you’re getting until you crack the seal every morning starting December 1. Once you’ve read that day’s story, check back here to read an exclusive interview with the author.

It’s December 8.  Sofia Samatar, author of A Stranger in Olondria, is glad she remembered to pack those seasickness tabs..  [Click the link to the H&O extras for the story].

This story was a challenge for me.  First because I didn’t realize that the two letters (the story is two letters on facing pages) were meant to be read separately.  At first I thought it was a series of disjointed, unfinished letters–a sort of failed attempt at communication.  Obviously that is very far from what the story is mean to be about. (more…)

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SOUNDTRACK: MEREBA-Tiny Desk Concert #916 (November 27, 2019).

Who the heck is Mereba?

Very few artists get to return to the Tiny Desk, and fewer still return twice in the same year. But after contributing background vocals behind the desk for Dreamville artist Bas in early 2019, we invited Mereba back for a solo set that puts her eclectic, major-label debut The Jungle Is The Only Way Out into sharp focus.

As with many singers I’ve never heard of, I’m not sure if these songs sound like this on the record or if they are more dancey.  I do quite like the simple, organic sounds that accompany these songs.

The stripped-down soundscape Mereba achieves live with her four-piece band is equally dreamlike here, drawing from influences as wide-ranging as the many places she’s called home (Alabama, Philly, North Carolina, Atlanta, Ethiopia). As she pulls from genres as seemingly disparate as folk, rap and spoken word, her set reflects the years she spent perfecting her craft on live stages in Atlanta cafes and clubs, where she attracted the attention of the indie creative collective Spillage Village  before joining them in 2014.

She sings three songs and recites a poem (all on the album).

When “Black Truck” started I thought she sounded exactly like Alanis Morissette.  The way she says “and I said world would you please have some mercy on me” sounds very uncannily like her.  The song is a quiet, mellow piece that starts with a simple bass line (including some harmonics) from Chris James and guitar washes that turn into a nice picked melody from Sam Hoffman.  After a minute or so, Aisha Gaillard plays a simple drum beat and the song kicks into higher gear.

Through all of this, the backing vocals from Olivia Walker were just beautiful.  The end of the song turns into a kind of rap as the guitar and bass fade out.  I say kind of a rap because Mereba is also a poet and she has more of a poet’s delivery than a rapper’s delivery.

For “Stay Tru” the guys switch instruments and the bass takes on a slightly more lead role.  But this song is also very mellow.  Mereba’s vocals sound a bit more Jamaican in his song.  Midway through, James switches to violin and Mereba plays keys which adds a whole new texture.  I didn’t like this song as much because the chorus is kinda lame with a lot of repeating of “cut the bullshit, this time” sung in a sweet voice.  It also seems to drag on for a really long time (although it is very pretty).

“Dodging The Devil” is a poem she wrote when things just didn’t seem to be going right.  After a couple of verses, a quiet guitar line fills in the background.

On the last song, “Kinfolk,” Mereba plays the main guitar line while Sam plays single soaring notes.  The song kicks into gear with a simple guitar riff and some prominent bass.

I really enjoyed this set.  I thought the music was beautifully restrained and her voice distinct enough in each song to show such a range of sounds.  It’s always nice to be surprised by a new musician.

[READ: November 15, 2019] Cursed

I saw this book in the new YA section at the library.  I was attracted by the cover and fascinated by the “soon to be a Netflix Original Series” sticker.

I have known of Frank Miller for years.  I’m sure I’ve read graphic novels by him, although I don’t know if I’ve read Sin City (maybe a long time ago?).  Mostly he drew superhero comics which is not my thing.  Turns out I really don’t like his artistic style in this book (at least for the way he draws the heroine–I rather like the way the bad guys are drawn).  If the series was in any way designed to look like the art in the book I don’t think I’d watch it.

But the story itself is petty darn good.  It took me a while to read it for some reason. I guess maybe the opening was a little slow because there’s so much going on it takes awhile to really get settled in this universe.

But the description of the story is pretty intriguing: Whosoever wields the sword of power shall be the one true king.  But what if the sword has chosen a queen?

For this is a story of Arthurian legend with many many twists.  My knowledge of Arthurian legend is surprisingly minimal.  I love the story and I know the main participants, but there is a lot of information in here that I didn’t know about–or even how much Wheeler is making up. (more…)

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SOUNDTRACKRHEOSTATICS-The Horseshoe Tavern Toronto (February 17, 2001).

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

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

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

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

So that’s the opening act.

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

And then they jumped n with six new songs.

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

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

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

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

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

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

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

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

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


 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

What a show.

 

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

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

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SOUNDTRACK: RHEOSTATICS-Ultrasound Showbar [2nd GSMW Matinee Day 3] (February 27, 1994).

Second annual Green Sprouts Music Week held at Ultrasound Showbar Feb 25-March 1 1994. Setlists for all shows were fairly similar in content focusing mainly on the 25-30 songs that they would use for consideration on Introducing Happiness which began recording the following week. Rare performances of Green Xmas, Floating and one of the earliest Desert Island Discs. This is the all ages Sunday afternoon show 3/5.

Sadly there was to be no celebratory party for the Canadian hockey team who lost the final match and took silver (they’d have to wait until 2002).

They’re going to play a lot of new songs and some old songs.  So they start with “Crescent Moon” from Greatest Hits (it’s so synthy!).  Midway through they seem to mess up and Dave says, “We know the new ones well we just don’t know the old ones very well.”

As the start “Green Xmas,” Dave Clark says, “I love Christmas Time so much so that I love playing this song even though it’s not Christmas.”  When the song is over there’s lots of talk about gum–I assume someone had some in the audience: Black Cat, Ton o Gum or Bubbalicious.  He asks what kind and they start talking about Dubble Bubble and how so many bad things happened to Pud (He could never win).  He contends that Ziggy ripped him off.

They get an organized snap going for Fishtailin’.  They play a verse and then hold it, Dave says “We usually play this song in A, Martin.”  However we will employ “capo technology.”

Clark says he enjoys playing that song because it reminds him of …Dave.  And all the good times they had…before the bad stuff happened (ha).  Clark describes how he met Dave when they were kids.  Bidini says he doesn’t remember the meeting and jokes “did you steal something off of me?”  Clark says Bidini’s aunt and uncle got the first in ground pool in the area and that’s where they met.  Bidini asks what he thought of him.  After shouting “Doofus,” Clark says, I thought “he would become a well kempt perhaps overspoken person.”  Bidini says he remembers being in his Delta 88 going for a drivers test in 1981 and picking up Clark and thinking “he has lips as big as mine–we can be square together.”

It’s a good segue into “Me and Stupid” (which they make family-friendly by singing “messed up” instead of fucked up).  For the fish chant at the end “pike, trout, bass, smelt,” Dave says they are the “four fish of the apocalypse.”

Dave apologizes that he “spit on you from afar but luckily I hit one of the Wooden Stars and I think that will bring me good luck in 1994.”  The Wooden Stars are the band that’s playing during the break.

Once again Tim says that “Introducing Happiness” is about having cats–not birthing cats, just discovering them.”

Clark says that they are “one of the laziest bands in rock.”  Bidini says they have inherited the mantle from Valdy.  Then he says I thought you meant “laid back.”   Clark says “I didn’t say lamest.”  But Bidini says that Valdy once paid The Woods Are Full of Cuckoos $1500 to open for them at the Port Credit Arena.  Clark says he wasn’t talking about Valdy, he wrote the Four Seasons.  Tim says he also sells really cheap groceries (I assume he’s joking about Aldi).

For “In This Town,” Martin asks for “Lots of reverb on the intro.”  Bidini says it’s like they’re in a cave.  Then there’s a great “Michael Jackson, ” followed by a rocking “RDA.”  A sloppy intro to “Soul Glue” is fixed and then the song starts for good.  Midway through Bidini tells them to do it nice and breezy, like Valdy would do it, and they make it very smooth.  “Zero angst, Tim.”  The gentle ending segues nicely into “Self Serve Gas Station.”

Clark tries to wax eloquent about the loss of sun, but he can’t get the words out.  So they encourage the kids to dance, which it sounds like they do.

They play the mellow “Row,” which features a really great solo from Martin in the middle.  After a discussion of new wave, they play the rapid, rather odd “The Woods Are Full of Cuckoos.”   They play “Floating” again–one of those songs that has never gotten official release.  It’s pretty cool with a few different parts that complicate the song.

They ask, “Any teenagers in the audience?  I heard that teenagers don’t like to be called teenagers what do they like to be called?”  Someone shouts “Young adults.”  They play “Jesus Was Once a Teenager Too.”

They ask that the lights to go up and they play a song/game called “Desert Island Picks.”  You say three albums you’d take with you if you were stranded on a desert island (in this case New Providence Island).  They walk around singing the folk song and then some people come up: it is really fun and very funny, a great good time is had by all.  They even bring up a little kid and he sings his three favorite things in the world.  When they ask another kid what school she goes to, she says  “uh…what?”  And someone shouts “Must be U of T!”

Someone had picked three Beatles albums, and Martin says “This is from our next album Let It Be…”  He sings “Jo Jo was a…” before beginning “Take Me in Your Hand” properly.  Then they play a lovely version of “Claire” and then a noisy messy sloppy verse of Neil Young’s “Farmer John,” which morphs into the crazy trilogy “Artenings Made of Gold/Cephallus Worm/Uncle Henry.”

Clark asks if they should play longer or shorter, and longer wins.  But he must take a five-minute bathroom break.  So Martin plays a gentle acoustic version of “Record Body Count,” which the crowd loves.   Then, “Oneilly’s Strange Dream” is introduced as “Saskatchewan Part 2”.  And then (despite some apparent crying from children) they play “Horses” (the moaning child actually sounds like a pretty good fit for this intense song).  There’s even a kid who sings the “Holy Mackinaw, Joe” part.  At the end, there’s kids doing the whole ending with them.

And then it’s a couple of covers: Jane Siberry’s “One More Colour” and a rocking rendition of Cheap Trick’s “Surrender.”  They leave the stage and there is a truly wild and rowdy encore cheer (banging things and lots of screaming).

Dave gives away a prize–nightgowns (?) from Sire Records–which Clark says he doesn’t want because he’s ashamed of being on a major label.  I’d love to see those.

It leads to a cool trippy version of “Dope Fiends,” and the end guitar section segues perfectly in to “Earth Monstrous Hummingbirds,” a version which doesn’t ever get really weird but which still sounds fantastic.

I can’t get over how cool it is that Rheostatics played matinee shows like this.  The show lasted over 2 hours, tickets were $6 and it was all kind-friendly.  That’s pretty awesome.

[READ: January 17, 2017] “The Curse”

This is an excerpt from Marías’ recent nonfiction book To Begin at the Beginning. It is a reflection on the art of writing fiction.

This brief section looks at how he writes; he doesn’t know how things are going to turn out when he begins–that would be boring for him.  And if he was bored, it would reflect in his writing and then his readers would be bored.

Just as we do what we do when we’re twenty without knowing that when we reach forty we may wish we had done something else, and just as when we’re forty we have no alternative but to abide by what we did when we were twenty, we can’t erase or amend anything, so I write what I write on page 5 of a novel with no idea if this will prove to have been a good idea when I reach page 200, and far from writing a second or third version, adapting page 5 to what I later find out will appear on page 200, I don’t change a word, I stand by what I wrote at the very beginning — tentatively and intuitively, accidentally or capriciously. Except that, unlike life — which is why life tends to be such a bad novelist — I try to ensure that what had no meaning at the beginning does have meaning at the end. I force myself to make necessary what was random and even superfluous, so that ultimately it’s neither random nor superfluous.

He cites an example.  When Marías’ Cuban great-grandfather was still a young man, he refused to help a beggar. The beggar put a curse on him: “You and your eldest son will both die before you are fifty, far from your homeland and without a grave.”  He wrote about this curse in his book Dark Back of Time. (more…)

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