Feeds:
Posts
Comments

Archive for the ‘Film & TV’ Category

Jesse Eisenberg-“Why I Broke Up with the Little Mermaid” (New Yorker, February 12, 2016)

Posted in Funny (ha ha), Jesse Eisenberg, King's X, Kings of Spade, Mermaids, New Yorker, Short Story, The Little Mermaid on February 11, 2018| Leave a Comment »

SOUNDTRACK: KINGS OF SPADE-Kings of Spade (2014).

This follow up to Kings of Spade’s debut album.  They describe it as

High energy, shameless dancing, foot-stomping Rock’n’Roll! Dedicated to all the freaks, queers, strange birds, rule breakers and all who dare to be different.

That’s pretty accurate.  The band seems to have really found their groove.  There’s fewer experiments but the ones they employ are solid and the whole album is pretty great from start to finish.

“This Child” opens with a cool echoing riff and  big power chords as Kasi Nunes sings the catchy chorus:

yes you buy me dresses
but i play with guns
swing for the fences
aint gonna tame this child

There’s some interesting electronic sounds swirling around but they are more for texture than actual song creation.  “San Antonie” is a classic-rock-sounding/blues riffing song.  It’s funny to think of someone from Hawaii singing about taking a train to San Antoine.

“Bottoms Up” is a heavier riff-based song with echoed vocals. Kasi’s delivery is a bit more rap-like but nothing as deliberate as on the previous album.  And she still wails.  The song includes scratch artistry by DJ PACKO.  As with the other songs, there’s a really scorching guitar solo from Jessie Savio.

“Sweet” is a slower song with kind of sultry vocals from Kasi.  “Lost” returns to that power-blues style but the second half of the song gets into a really fast riffing–it’s practically a second song.

“Take Me” is a nearly 7 minute workout.  It’s almost a disco bass line from Tim Corker but then around four minutes it slows down into a kind of bluesy solo section with Kasi really showing off her vocal chops.  “Way She Goes’ is a great song–a story song about Kasi trying to pick someone up.  But it’s the distorted falsetto of the chorus that really hooks the song–that and the terrific riff in the chorus.  Half way through the song slows down to a kind of reggae vibe–just keeping things interesting.

“Ronda Rousey” is dedicated to the fighter.  The night I saw them live Ronda was playing the next night (she lost).  Regardless of Rousey herself, this song kicks major ass.  It’s heavy and stomping and the chorus is awesome:

now you’re here cross my corner and i warned ya
and im giving you the fight of my life
no escape from what your feelin
i got an itch to get inside
come on let’s get it on

The way it shifts gear during the repeating of “come on, let’s go it on” is pretty cool.

“Strange Bird” is their best song and one of my favorite songs in recent times.  The opening riff–guitar and bass) is pretty simple but it works and when the song pulls back to let Kasi sing her pre-chours (which is terrific) and then leads to the powerful chorus, it’s all a perfectly executed rock song.

Even if the chorus of “rocking to the beat of my own drum” is not original, it works, and that pre-chorus is pure Kasi with her pink mohawk:

strange bird how many colors in your hair
how many people love to stare
strange bird here comes another .

There’s some great drums work on this song by Matt Kato.

It feels like the album should end with that song, it’s such a great climax.  But the final song, “Mess of Me” is no slouch.  It’s a pretty classic blues rocker with some great guitar and Kasi’s soaring vocals.  I would have put it before “Strange Bird,” myself, but it’s still a rocking song.

It’s been almost four years since they put this record out.  I know they’ve been touring the world with King’s X for a pretty long time.  I hope they keep up the great work.

[READ: January 25, 2017] “Why I Broke Up with the Little Mermaid”

Sometimes a very simple premise can be taken too far.  Other times, a simple premise can be cleverly stretched out into variations of the same joke that are all very funny.

This piece is pretty much all stated in the title.  But the reasons why are presented as a dialogue between him and Ariel  . And, the best part is that much of Ariel’s dialogue is quoted from the movie.

So:

Ariel: Look at this stuff! Isn’t it neat?

Me: Not really. What is it?

Ariel: They’re whozamawhats, silly! I got them from a yard sale. (more…)

Read Full Post »

Trace Beaulieu and Len Peralta–Silly Rhymes for Belligerent Children: A Yucky Big Book of Rainy Day Fun for Belligerent Children & Odd Adults with Nothing Better to Do (2010)

Posted in Bison, Caribou, Cats, Dogs, Funny (ha ha), Funny (strange), Len Peralta, Monsters, MST3K, Mystery Science Theater 3000, Poetry, Poo, Science, Short Books, Smarty Pants, The Mads Are Back!, Tiny Desk Concert, Trace Beaulieu, Turtles, Vicente García, Witches, Word usage, Yuck! on February 10, 2018| Leave a Comment »

SOUNDTRACK: VICENTE GARCÍA-Tiny Desk Concert #701 (February 2, 2018).

Singer-songwriter Vicente García plays a delicate acoustic guitar and has a pretty crooning voice.

The blurb says that he

is still relatively under the radar, but performances like the one he gave at the Tiny Desk are starting to turn some heads.

García’s music isn’t dominated by his native Dominican Republic, but you can hear it in every note. His poetic lyrics are like short stories, sung by a voice both plaintive and evocative, yet always distinct.

“San Rafael” is quite a pretty song echoing the beauty of San Rafael.

Before “A La Mar” (the title of second album which means ‘to the sea’) he introduces [unclear] Vasquez from Dominican Republic on percussion and Ricardo Muñoz from Bogota on the keys.  There’s a neat moment where he plays a harmonic on the guitar in a rather unusual way.  The delicate percussion really adds a lot, as does the bass line plays on the keys.

“Dulcito e Coco” opens with a lovely guitar melody and a close up of the fascinating percussion box that Vazquez is playing–a purple, strangely-shaped box that seems to get different sounds where you strike it.  The song stays quiet throughout although it does get a bit bigger by the end.

 

[READ: November 13, 2017] Silly Rhymes for Belligerent Children

I was so excited to see Trace Beaulieu in person.  Ans even though this book is available everywhere, it was especially neat to buy it from the man himself and get him to autograph it.

It is subtitled A Yucky Big Book of Rainy Day Fun for Belligerent Children & Odd Adults with Nothing Better to Do.  The illustrations are by Len Peralta who apparently has not done anything else I’ve read even though his work looks so familiar and is really good.

So what is this?

Well the title is pretty accurate.  Trace has concocted snarky funny poems.  Most of them are pretty short (and in this format are often two or three lines per page) and accompanied by an illustration). (more…)

Read Full Post »

Michael Chabon–”The Recipe for Life” (New Yorker, February 5, 2018)

Posted in Essays, Michael Chabon, New Yorker, Nostalgia, Parenting, Underdog, Wolf Alice on February 6, 2018| 1 Comment »

SOUNDTRACK: WOLF ALICE-Visions of a Life (2017).

Wolf Alice’s second album explores a great deal of diversity.  Nearly every song is in a different style–and yet none of them sound out of place.  It just sounds like Wolf Alice pushing their sound in many different directions and seeing what sticks (and most of hit sticks quite nicely).

It opens a lot noisier than the first album, but the shoegaze element is still prominent.  “Heavenward” is all distorted guitars and soaring melodies before settling down into a quieter verse and then a really catchy, bouncy chorus.  It’s followed by the loudest craziest song they’ve recorded thus far.  The 2 minute “Yuk Foo” is a solid blast of aggressive punk with a thumping bassline, squealing feedbacking guitars and Ellie Roswell screaming and cursing like a fiend.   Catharsis in 2 minutes.

It’s followed by “Beautifully Unconventional,” yet another terrific and, for them, a rather different style of song.  A staggered guitar phrase and a cool staccato chorus.  It’s wonderfully catchy.

“Don’t Delete The Kisses” is a surprisingly sweet pop song. The hook of the shouted singular words is undeniable.  “What if it’s not meant for me? love” with a happy ending “Me and you were meant to be in love”  “Planet Hunter” slows things down a bit with a quiet guitar and Roswell’s voice out front, but it leads into a full and really catchy chorus and a great ending section with a loud bass that takes the song to the end.

A lot of the band’s songs feature Roswell whispering the lyrics. “Sky Musings” is one of those songs.  It’s propulsive with Roswell’s vocals slightly obscured as she speaks out.  If she were a tad louder in the mix, the song would feel incredibly intimate.

“Formidable Cool” shifts things again, with an almost Beatlesqsue guitar riff that turns very loud for the chorus.  The lyrics get really angry and the song grows pretty intense.  “Space & Time” is a bouncing song that lets up in the middle until the second half roars to the end.  Live, this song was amazing with guitarist Jeff Oddie just banging the crap out of his old guitar and making all kinds of sounds.

“Sadboy” is a bit of slower song but it’s got some great noises and sounds on it.  The hook is one that will stay with you.  The second half, with the “waiting for love” refrain features a whole chorus of backing singers (or Ellie)–quite a surprise–as well as some deep, processed vocals and what I assume is Roswell screaming in the background.

“St. Purple & Green” opens with a similar chorused vocal effect before roaring out with some loud crashing guitars. The band plays especially wonderfully with loud/quiet dynamic because during the quiet sections, Roswell’s voice is so delicate and soothing.  The contrasts are tremendous.

“After the Zero Hour” is a pretty folk song with acoustic guitars and Roswell’s layered soaring vocals.  It’s quite a lovely piece.

The disc ends with the title track “Visions of a Life,” an 8 minute epic of heaviness with multiple parts and time signatures.  It’s a fanatic conclusion to the disc–even if 8 minutes is nowhere near long enough.

I feel pretty lucky to have seen them in a small venue as I can imagine them really taking off.

[READ: January 29, 2018] “The Recipe for Life”

This is an essay about Chabon’s father and his own childhood.

His father was a doctor–an excellent doctor, by all accounts.  He worked all day as a hospital pediatrician and then at night he did house calls for U.S. Public Health Service for insurance claims.

He often took Michael with him.  And Michael often had his own doctor bag (made of plastic) and his own stethoscope (made of plastic) and a needle (made of plastic).

He recalls one night when the patient asked him if he wanted to be a doctor like his father.  He felt, even then, that he could never live up to his father’s work.  He saw (and still sees) his father as an excellent diagnostician (he gets every diagnosis correct very early on while watching Marcus Welby).  But Michael is more impressed at his father’s ability to reassurance patients.  he is warm and thoughtful and consoling.

Except toward Michael: “Unless I am gravely ill or seriously injured–and I am almost never either of those things–I don’t even rate the bedside manner.  My father’s response when I cut a finger, stub my toe, twist an ankle or fall of my bicycle never varies: ‘We’ll have to amputate.'” (more…)

Read Full Post »

Ben Greenman–“My Holocaust Memoir” (New Yorker, January 19, 2009)

Posted in Anachronisms, Barenaked Ladies, Ben Greenman, Colin Meloy, Funny (ha ha), George Harrison, Holocaust, Linda Ronstadt, Nazis, New Yorker, Oprah, Pet Shop Boys, Steven Page, The Beatles on January 19, 2018| Leave a Comment »

SOUNDTRACK: STEVEN PAGE-Heal Thyself Pt. 1 : Instinct (2016).

This is Steven Page’s second solo album since leaving Barenaked Ladies.  This one features his voice sounding utterly fantastic amid a large variety of styles of music.

“There’s a Melody” opens with a tiny harmonium sound.  It’s a one minute song that has this fascinating lyric:

There’s a melody somewhere inside of me,
I can hear it but can’t get it out of me,
In my head it soaring but when it comes out it is all the same note

Ironically it is sung to a terrific melody and it will be revisited later in the Reprise which builds and builds with full orchestra.

On Page’s previous album he played around with dance sounds and that continues on this record with “The Work at Hand.”  It opens with crazy electronic noises and then shifts to a soaring dance number.   The chorus sounds a bit like Pet Shop Boys (although not in the vocals).

“Here’s What It Takes” is a fast shuffle with prominent trumpets in the melody.  It’s catchy and was the first single.  But I’m more focused on the lyrics again.  For such a peppy song the lyrics are really dark:

An 8-ball of coke / You’re angry and broke / My Mother misspoke / by telling me the truth
Here’s what it takes to believe  / Drink down the Drano ’til the demons all leave
The fridge door was open again / There’s leftover blame / You’re eating your shame / and choking on the truth

What was funny was that I heard this couplet first and thought it was an amusing song before digging deeper:

What we once kept hidden from our parents / Now we keep it hidden from our kids

That’s a great line and it’s even darker with the above verses.

“I Can See My House From Here”  is a funny/dark song about Jesus, or at least a self-identified messiah.

Jesus came to me last night
To tell me everything will be alright
He said, “Thank you for rolling the stone,
but you’re gonna have to go it alone”

Hey, have you heard the Good News?
We’re gonna make you King of the Jew

But it’s also chock full of nods to the Beatles.  Both in the backing vocals (the Hallelujah and Hare Krishna below) but also in unexpected ways

[Hallelujah] Mother Mary
[Heal Thyself] You had me
[Hare Krishna] And no religion
[Hope that helps] So Let It Be

As he sings this section, it plays with the melody of “My Sweet Lord”

And if you can’t then you know it’s a lie
Goodbye my Lord, goodbye my Lord

and he even sings the next line “I really want to…” as if it were part of “My Sweet Lord” before jumping back to the melody of the song.

It end with the guitar melody of The Beatles’ “The Two of Us” and him singing “we’re on our way home.”

The best song around is “Manchild” which features Page’s soaring vocals and terrific self-deprecating lyrics that morph over the song

Darling, you’re talking to a man now / You’re talking to a man, now, child /
Speak slowly, speak slowly
Darling, you’re talking to a manchild / You’re talking to a manchild now /
Speak slowly, speak slowly

But the album is not all big powerful songs, “If That’s Your Way” (“If that’s your way of saying you’re sorry – I don’t mind”) and “Hole In the Moonlight” are both ballads with piano and strings.

“Mama” is a kind of almost reggae romp with some excellent snark in the lyrics.  And “Surprise Surprise” was the lead single and does a great job rhyming

I was feeling shamed / you were feeling stupid
because I knew what was wrong with me / long before you did

“Linda Ronstadt In the 70s” has a harpsichord and a chamber pop feel with an emphasis on pop.  I had no idea of the origin of the song.  It was apparently written because Colin Meloy requested people write songs about Linda Ronstadt.  You can see the original acoustic version here.

“No Song Left to Save Me” ends the disc with the unmistakable bass line of “Sugar Pie Honey Bunch” but the song quickly changes tempo and direction with swinging horns and big old catchy Steven Page chorus.

This is an excellent, fun disc and really shows the range that Page is willing to experiment with.  I wish Barenaked Ladies would take more chances like this, too.  But I am especially excited to see Page next month with the Art of Time Ensemble.

[READ: March 25, 2016] “My Holocaust Memoir”

You don’t expect something funny to have a title like this.  Of course once you see that the first line is “Dear Ms Winfrey,” you can expect to not take this seriously,

Greenman begins his letter to Ms Winfrey by saying how much he admires the show, although he doesn’t watch every day).  He says he was watching “Best Life Week ” (is that really the name of segment?) in which guests discussed the challenges they’ve overcome.  He says that he has had some challenges–which he is currently putting into book form.  And he would like her to take a look at them.

It begins: (more…)

Read Full Post »

Luke Gordon and Alex Huntley–The Beaverton Presents Glorious and/or Free: The True History of Canada (2017)

Posted in Advice, Africa, AHI, Alex Huntley, Beavers, Canadian Content, Canadian Music, Choose Your Own Adventure, College, Culture Shock, Daredevils, Death, Doctors, Drinking, Etiquette, First Nations, Funny (ha ha), Greed, History, Hockey, Indigenous Peoples, Japan, John A. Macdonald, Justin Trudeau, Laura Secord, LGBTQ, Louis Reil, Luke Gordon, Marilyn Bell, Marriage Trouble, Mary Pickford, Military, Money, Morality, Nature, Nostalgia, Oddities, Parenting, Racism, Regrets, Religion, Research, Revenge, Sanford Fleming, Sexism, Susanna Moodie, The Beaveron, Tiny Desk Concert, Trivial Pursuit, War, World War I, World War II on January 18, 2018| Leave a Comment »

SOUNDTRACK: AHI-Tiny Desk Concert #693 (January 16, 2018).

AHI is apparently, inexplicably pronounced “eye.”  He is an Ontario-based singer.  There’s nothing strikingly original about his sound, but his songs are pretty and thoughtful and his voice has a pleasing rough edge.

Bob says,

AHI’s gruff but sweet voice and openly honest words were my gateway to this young Ontario-based singer. AHI says he sings Sam Cooke’s “A Change Is Gonna Come,” at the end of every set with a sense of hope. It was powerfully moving, without a note that felt clichéd or overly nostalgic. At that moment, I knew he needed to play a Tiny Desk Concert.

With a tasteful band comprised of Frank Carter Rische on electric guitar, Robbie Crowell on bass guitar and Shawn Killaly (a man of a million faces) on drums, AHI put his heart into three songs in just about 11 minutes, all from his debut album We Made It Through The Wreckage, which came out a year ago this week.

“Alive Again” builds slowly, but by the time the chorus comes around and he adds some whoops, the song really moves. I’m quite intrigued at the constant soloing from guitarist Frank Carter Rische.  It’s virtually nonstop and really seems to propel the song along.  It’s a catchy and fun song the way each round seems to make the song bigger and bigger.

About “Closer (From a Distance)” he says, we all have relationships.  Some are good; some are bad and some are just awful.  You may care about someone with your whole heart only to realize that you care about that person more than they care about themselves.  No matter how strong you are your strengths may not be as strong as their weaknesses.  Sometimes the only way to save the relationship is to walk away–“maybe we’ll be closer from a distance.”   This is a really heartbreaking song.  The lyrics are clearly very personal and quite powerful.  And the soloing throughout the song is really quiet and beautiful.

“Ol’ Sweet Day” is bouncy and catchy with a propulsive acoustic guitar and lovely licks on the lead acoustic guitar.  The drums are fun on this song as Killaly plays the wall and uses his elbow to change the sound of the drum at the end of the song.

The burning question that is never addressed is way he is wearing a helmet –motorcycle? horse riding?  It stays on the whole time.  At one point he even seems to “tip” his hat.  How peculiar.

[READ: December 8, 2017] Glorious and or Free

The Beaverton is a satirical news source based in Canada.  It began as a website in 2010 and then added a TV Show in 2016 (now in its second season).  To celebrate 2017, the creators made this book.

They have divided the history of Canada into 13 sections.  As with many satirical history books, you can learn a lot about a country or a time from the kinds of jokes made.  Obviously the joke of each article is fake, but they are all based in something.  Historical figures are accurate and their stereotypes and broadsides certainly give a picture of the person.

Some of the humor is dependent upon knowing at least a little about the topic, but some of the other articles are just broadly funny whether you know anything about it or not.

When we made this book our goal was to transport readers back to grade school to remember what they were taught n Canadian history class.  And so what if your teacher was hungover most of the time?

~30,000 Years of History in About Four Page (3,200,000,000 BCE – 1496)

“What the hell is that?”  –God after forgetting he made beavers. (more…)

Read Full Post »

Gin Phillips–Fierce Kingdom (2017)

Posted in #RESIST, Cowboy Junkies, Death, Fears, Film & TV, Gin Phillips, Guns, Joni Mitchell, Laura Marling, Margo Timmins, Parenting, Regrets, Summer, The Weather Station, Violence, Yuck!, Zoos on January 9, 2018| Leave a Comment »

SOUNDTRACK: THE WEATHER STATION-Tiny Desk Concert #689 (January 8, 2017).

The Weather Station played a show in Philly a while back.  I knew that Bob Boilen really liked the album, and I thought about checking them out live.  But things came up and I didn’t.  And now here they are at a Tiny Desk.

It was the first song here, that Bob especially liked:

It’s called “Thirty” and in less than four minutes and nearly 400 words, singer Tamara Lindeman paints images of joy intertwined with the awaking jolt of turning thirty.

The dollar was down
But my friends opened businesses
There were new children
And again, I didn’t get married
I wasn’t close to my family
And my dad was raising a child in Nairobi
She was three now, he told me

The song is a pretty, shuffling song (spare drums from Ian Kehoe) with a speedy rhythm guitar (from Lindeman), a roaming bassline (Ben Whiteley) and some cool guitar licks (William Kidman) over the top (both of which are really lovely).

The musicians in The Weather Station underpin these words with delicate playing and by sitting quietly but poignantly under Tamara Lindeman’s beautiful voice. Her soft voice shifts pitch with a rapid flow in a Joni Mitchell-sort of way, never coming up in volume more than a quiet, table conversation level.

There’s a great (relatively) wailing solo that really pushes the song forward and which ends perfectly when Tamara starts singing again.

“You and I (On the Other Side of the World)” has a slow slinkiness that I rather like.  There’s also some nice, understated backing vocals (deep male voices under Tamara’s higher register).  I love the bass work at the end of the song, too.

Tamara’s voice sounds very much like someone else or maybe a number of people: I hear Laura Marling and yes, Joni Mitchell, but maybe Margo Timmins as well.  In other words, all good benchmarks.

In fact, the final song, “Free” has a real Cowboy Junkies feel with the big slow echoing rhythm guitar that opens it.

On “Free,” there’s some great lead guitar work once again as well as a wonderful bass line.

a song Lindeman describes as about being both free and not free at the same time, there’s restraint in the voice and a release in the powerful guitar chords. That tension and release is an essential element to The Weather Station’s sound and one of the joys I’ve found listening to their enchanting music.

Initially I wasn’t blown away by this concert, but I found myself hitting replay over and over, enjoying it more each time.

[READ: August 20, 2017] Fierce Kingdom

I read about this story on Skimm, a daily news digest that I have since read is geared to women (and according to some criticism, treats women like they are dumb.  I have recently stopped subscribing to it because I do find it rather dumb and subtly right-wing (how could a site for women not be pissed that Hillary lost? #RESIST).  But whatever, the book sounded interesting so I put it on hold.

The premise is fairly simple: a woman and her young child (4 perhaps), are in a zoo.  Right around closing time two gunmen enter the zoo and start killing people.  What will she do?

For some reason, the blurbs didn’t reveal that there were gunmen, just that “something” happened. Well, honestly what else could it have been but gunmen. So, perhaps I spoiled that part but it came out pretty early anyway.

The story begins with a time stamp 4:55 PM. The zoo closes at 5:30 and Joan and her boy Lincoln are sitting in their favorite spot waiting to leave the zoo.  As they head toward the exit around 5:30, she notices bodies on the ground.  She had heard explosions earlier but didn’t think much of it,  But when she sees the bodies, she quickly puts things together and takes off.

Now the blurb for the book on the inside cover says “an electrifying novel about the primal and unyielding bond between a mother and her son, and the lengths she’ll go to protect him.”  That’s not wrong exactly but I feel like that puts a weird focus on it being about mother hood instead of survival.  Must be some kind of marketing thing.  I didn’t get the sense in the book that it has anything to do with motherhood–I mean frankly any parent would do that for his or her child and I’m sure any person would do the same for anyone they loved.  The fact that the child is younger and doesn’t have the same cognitive skills make the story more compelling.

Because, frankly, as she hides in an abandoned animal enclosure, there’s no reason she would ever have to leave such an enclosure–she can’t be seen, she is well protected, and it is dark.  She even has her cell phone and she talks to her husband (I find it a bit hard to believe that the police wouldn’t listen to him if he has a text from his wife in the zoo, but that’s what happens).  The bad guys even come into where she is and don’t see her.

So, end of story right?  At least I couldn’t imagine why there would be more story when she is safe and the police are coming. (more…)

Read Full Post »

Robert Kondo and Dice Tsutsumi–The Dam Keeper (2017)

Posted in #10yearsof01, Adventure, Animals, Art, Children's Books, Christmas Album, Cities, Dice Tsutsumi, First Second :01, Fog, Foxes, Graphic Novel, Hippos, Maurice Sendak, Pigs, Robert Kondo, Shawn Colvin, The Dam Keeper, Unfinished series on December 24, 2017| Leave a Comment »

SOUNDTRACK: SHAWN COLVIN-Holiday Songs and Lullabies (1998).

This album “was inspired by impending motherhood and the rediscovery of a favorite children’s book–the enchanting Maurice Sendak-illustrated Lullabies and Night Songs, from whence many of these traditional tunes come.”

I wouldn’t have said it this way, but this quote from the Amazon page is pretty apt (if overwritten):

These simple, elegant songs outshine any nasty humbug associated with holidays and dark nights, offering sanctuary from the ill temper of the season.  Though she was heavy with child at the time of recording, Colvin’s sweet, girlish voice is here huskily warmed and enhanced by the fullness of womanly glow, conjuring the innocent simplicity of a safe childhood.

The songs are all gentle and have that lullaby feel.  Some songs have strings and horns, but mostly it is piano, organ and acoustic guitar.  And it is all down-to-earth, clean-sounding and cozy.

Technically this isn’t really a Christmas album, but it’s perfect to get you fall asleep early on Christmas Eve.

The songs include: “In the Bleak Midwinter” (Traditional) / “Christmas Time Is Here”  /  “Now the Day Is Over” (Traditional) /  “Rocking” /  “Windy Nights”  /  “All Through the Night” (Traditional) /  “Love Came Down at Christmas” /  “Silent Night” /  “All the Pretty Li’l Horses” /  “Little Road to Bethlehem” /  “Seal Lullaby” (Rudyard Kipling) /  “Evening Is a Little Boy/The Night Will Never Stay” /  “The Christ Child’s Lullaby” (Traditional) /  “Close Your Eyes” (Brahms)

What’s especially good is that she doesn’t take any fast or upbeat songs and make them slow and soporific, she takes most of the slow ballads and sings them very prettily.

[READ: October 31, 2017] The Dam Keeper

Kondo and Tsutsumi have both worked at Pixar, which may explain why this graphic novel looks unlike anything I have ever seen before.   I have (after reading their bios) learned that this was also a short film.  I’m only a little disappointed to learn that because it means the clips are (I assume) stills from the film.  It still looks cool and remarkable, but it makes it a bit less eye-popping that this unusual style wasn’t made for a book.

The story is a somewhat peculiar one, at least in the beginning.

Animals live in a town called Sunrise Valley.  The fog used to consume the town.  Then they put up a dam with windmills to keep the fog out. It is up to the dam keeper to make sure it is always running. Because the fog means death.

The dam keeper is a pig .  The fog came into town and killed the dam keeper’s wife.  The father taught his son about the dam and the importance of making sure the dam is always working.  Then one day the father walked into the fog and was never seen again.

His father always said that the dam was working if the residents forget about it.  And so they have–they think the Pig family is weird for monitoring it.

So Pig, with no parents, must attend school and monitor the dam.  He has a lot of responsibility.  And he has few friends. (more…)

Read Full Post »

Rachel Lyon–“Tripping Sunny Chaudhry” [The 2017 Short Story Advent Calendar #24] (2016)

Posted in Blues Traveler, Brave Combo, Canadian Content, Chris Cornell, Christmas, Christmas Album, Dave Matthews Band, Drinking, Holidays, Hootie & The Blowfish, Huh?, Jack Black, Jonny Lang, Lies, Marriage (Happy), Natalie Merchant, No Doubt, Rachel Lyon, Run D.M.C, Salt-N-Pepa, Set at School, Set in New Jersey!, Sex, Sheryl Crow, Short Story, Smashing Pumpkins, Snoop Dog, Steve Winwood, Sting, Tenacious D, The Short Story Advent Calendar, Tracy Chapman on December 24, 2017| Leave a Comment »

SOUNDTRACK: A VERY SPECIAL CHRISTMAS 3 (1997).

Sarah had this album on cassette, so I recently upgraded it to CD for her.  There are some good songs on here, but the end kind of degenerates into unpleasantness.  Looking at the track listing of the rest of the Very Special Christmas releases I can;t imagine ever getting (or even listening to) another one.

STING-“I Saw Three Ships”
Sting is back.  Compared to the previous song, this is a delightfully spare version of this song.  And it’s quite nice (and short).

THE SMASHING PUMPKINS-“Christmastime”
I’ve recently realized how much I dislike Corgan’s voice, but I do like his arranging.  This song is quite pretty and his voice is kind of submerged a bit so that’s good, too.

NATALIE MERCHANT-“Children Go Where I Send Thee”
O good Lord.  Sarah and I both like Natalie, but jeez this song is so repetitive and so freaking long.  One verse would have been fine.  But five? Hold crap.  I do like the “one for the little bitty baby” line, though.

REV RUN & THE CHRISTMAS ALL STARS FEATURING MASE, PUFF DADDY, SNOOP DOGGY DOGG, SALT-N-PEPA, ONYX & KEITH MURRAY-“Santa Baby” [NSFC]
Oh boy is this terrible.  A horrible update to a horrible song.  The original is kind of funny, but this is just excessive greed.  At least it mentions a ’98 benz so it is so dated that no one plays it anymore.

NO DOUBT-“Oi to the World”
Gotta say that I love this song.  It’s funny and fun and I would totally put this on a Christmas playlist.  This is back when I used to like Gwen Steafani.

SHERYL CROW-“Blue Christmas”
I don’t like this song and I’m mixed on Sheryl Crow, but this version works pretty well somehow.

BLUES TRAVELER-“Christmas”
I only know Blues Traveler from that one song with the long harmonica solo (I hate that harmonica sound).  But I love this song.  It actually reminds me a ton of Tenacious D (can t you just hear Jack Black singing this?)  It’s fun and really catchy.  I wonder if I need to listen to other Blues Traveler songs.

ENYA-“Oíche Chiún (Silent Night)”
This song is very pretty and I have the single for it.

HOOTIE & THE BLOWFISH-“The Christmas Song”
Darius Rucker does have a good voice, but what the hell is going on in this cheesy phoned-in version?

CHRIS CORNELL WITH ELEVEN-“Ave Maria”
This is a nice (if not over the top–but is any version not over the top?).  But for heaven’s sake why is it 6 minutes long?

MARY J. BLIGE FEATURING ANGIE MARTINEZ-“Christmas in the City”
This is pretty much everything I hate in one Christmas song.  Cheesy beats, rambling verses, whiny choruses.

JONNY LANG-“Santa Claus Is Back in Town”
This is pretty close to everything else I hate in one Christmas song.  A blues song that feels like it goes on for 6 minutes.  Good grief.

DAVE MATTHEWS & TIM REYNOLDS-“Christmas Song”
This live version sounds better than the studio version I have elsewhere, but it’s still way too slow and mumbly and way way too long.

STEVE WINWOOD-“Christmas Is Now Drawing Near at Hand”
No one knows this “traditional” song, I’m sure.  It’s a slow English ballad, with no real melody.  I thought it was Peter Gabriel.  I kind of like it.

TRACY CHAPMAN-“O Holy Night”
This is an enjoyable version, understated and kind of weary-sounding.

PATTI SMITH-“We Three Kings”
My daughter rightly said that this version was very weird.  Patti is at her most Patti.  There’s  aton of mumbled spoken word competing with the song.  Even the chorus, which is so wonderfully catchy, is played like a dirge.  And like everything else bad on this record, it goes on for nearly 6 minutes.  CDs were bad for allowing people to sing for too long.

[READ: December 24, 2017] “Tripping Sunny Chaudhry”

Once again, I have ordered The Short Story Advent Calendar.  This year, there are brief interviews with each author posted on the date of their story.

Hello. Welcome. It’s finally here: Short Story Advent Calendar time.

If you’re reading along at home, now’s the time to start cracking those seals, one by one, and discover some truly brilliant writing inside. Then check back here each morning for an exclusive interview with the author of that day’s story.

(Want to join in? It’s not too late. Order your copy here.)

This year I’m pairing each story with a holiday disc from our personal collection.

This story actually takes place on Christmas Eve!

The narrator and her husband head back to New Jersey for the holidays.  Back when she was younger, all the kids would head out to the woods for beers and a bonfire.

(more…)

Read Full Post »

David Wiesner & the Art of Wordless Storytelling (2017)

Posted in Big Books, Biography, Cats, Charles Sheeler, Children's Books, Christmas Album, Clouds, David Wiesner, Essays, Fairy Tales, Fantasy, Frogs, Graphic Novel, Hayao Miyazaki, Illusion, Joseph Stella, Katherine Roeder, Lynn Ward, Max Ernst, Moebius, Non-fiction, Peter Ilyich Tchaikovsky, René Magritte, Salvador Dali, Santa Barbara Museum of Art, Surreal, The Glenn Miller Orchestra, UFOs on December 21, 2017| 2 Comments »

SOUNDTRACK: THE GLENN MILLER ORCHESTRA-In The Nutcracker Mood (2012).

Glenn Miller disappeared just before Christmas on December 15, 1944. His Orchestra, in the too-short run under his personal leadership, had officially recorded only one Christmas song (“Jingle Bells”, October 20, 1941).

Year later, the orchestra has recorded three Christmas albums.

A list of desirable players was compiled. There were a few requisites — musicians had to be working currently; only alumni of the Glenn Miller Orchestra would be recruited; each individual had to have recognized and outstanding talent; each veteran had to be able to take a leave-of-absence from his current “gig”; and, of course, be available to come to New York City to record.  The average age of this band is about 50. The length of time each player performed with the Glenn Miller Orchestra ranges from as little as 6 months to well over 10 years. The cumulative experience of this band recreating the authentic Miller “sound” is well over 100 years!

The first recording, “In The Christmas Mood”, was released in 1991. It was so successful that a second recording, “In The Christmas Mood II,” was produced and later released in 1993.

Almost all of the musicians performing on all three of these recordings, are the same. The only differences are the pianist for the first recording, and trombonist, Larry O’Brien, the then leader of the Glenn Miller Orchestra, was unable to make the second recording due to being on tour. Larry is noticeably back on this recording as evidenced by his beautiful trombone solo on Toyland.

My parents loved Glenn Miller and I grew up listening to him.  So when I saw this, I knew I had to get it–combining Glenn and the Nutcracker!

“Miniature Overture” a fun overture that puts the swing in things.
“March” I don’t know if Brian Setzer put the swing into this song before they did, but it has Glenn all over it.
“Dance of the Fairy Dragee” doesn’t differ too much for the original at least until the middle when the jazzy drums kick in.  The end totally swings.
“Russian Dance”  fast and peppy and wonderful with a big band flourish at the end.
“Arabian Dance” I love that the more Arabian sound comes from a muted trumpet.
“Chinese Dance” There’s some extra big band solos thrown into this one–cheating a bit I think.
“Dance of the Mirlitons” Some nice swinging in this dance too of course.
“Waltz of the Flowers”  This song is usually pretty sedate, but they big up the band.   The main part is still a pretty waltz, though.

“Jolly Old St. Nicholas”  The band’s singers enter on this song.  I have to admit I never really liked the Miller songs with words.  But this sounds pretty accurate to me.
“Toyland” A slow romantic ballad that I don;t recognize from elsewhere.  I could see Lawrence Welk and his bubbles doing this song.
“Ode to Joy”  You don’t hear jazzy versions of this too often, but they have the Glenn Miller sound perfectly for this swinging Classic.

“A String of Carols; Here We Come a-Caroling, Up On the House Top, a Child Is Born in Bethlehem, Deck the Halls”  The swingers are back with this nice medley of carols.

“Parade of the Wooden Soldiers” I love that they threw in a few bars of In the Mood into this song.
“Old Fashioned Christmas Tree” and “March of the Toys” I’m not sure if they are from something or just goo old swinging fun.
“What Are You Doing New Year’s Eve?” returns the vocals to the end of the disc.  I fitting end for the Christmas holiday.

The Glenn Miller Orchestra:
Saxes: Ralph Olson Lead Clarinet, Alto Saxophone & Flute; Lee Lachman Clarinet, Alto Saxophone & Piccolo; Mark Vinci Clarinet & Tenor Saxophone; Frank Perowsky Clarinet & Tenor Saxophone; Richy Barz Bass Clarinet, Alto Saxophone, Baritone Saxophone
Trumpets: Tom Snelson; Ken Brader; John Hoffman; Dale Thompson
Trombones: Larry O’Brien; Eric Culver; Randy Purcell; Dennis Good
Piano: Tony Monte
Bass: Lanny Fields
Guitar: Jay Patten
Drums: Danny D’Imperio
The Moonlight Serenaders: Annette Sanders, Arlene Martell, Al Dana, Paul Evans, Kevin DiSimone

[READ: April 25, 2017] The Art of Wordless Storytelling

This book is a companion to an exhibition of Wiesner’s art at the Santa Barbara Museum of Art.

Wiesner has created some of the most beautiful children’s pictures books ever.  And most of them have no words at all.  His books include Free Fall (1988), Hurricane (1992), Tuesday (1991), June 29, 1999 (1992), Sector 7 (1999), The Three Pigs (2001), Flotsam (2006), Art & Max (2010), Mr Wuffles! (2013) and Fish Girl (2016).

This book taught me that all of his art is done in watercolor and done in such a way that he adds layer upon layer of color to create intense depth of color and shade–I’d always known his art was great but had no idea why.  But then I read that when most books are created they print all of the colors at the same time, effectively muting his work.  So all of the subtlety in his work is lost when it comes out in book form.  His original drawings and paintings sound breathtaking.

In addition to seventy some plates of paintings, this book contains a few essays and Q&A with Wiesner. (more…)

Read Full Post »

Adam Gallardo & Todd Demong–100 Girls (2005)

Posted in Adam Gallardo, Adventure, Ballet, Chanukah Album, Christmas Album, Clones, Death, Erik Satie, Feminism, Frédéric Chopin, George Enescu, Graphic Novel, Johannes Brahms, Orphan Black, Peter Ilyich Tchaikovsky, Sci-fi, Shirim Klezmer Orchestra, Todd Demong on December 20, 2017| Leave a Comment »

SOUNDTRACK: SHIRIM KLEZMER ORCHESTRA-Klezmer Nutcracker (1998).

I love this klezmer version of Tchaikovsky’s Nutcracker.

The first 7 songs of the disc are the popular, quickly recognizable melodies from the ballet.  But each song has been klezemerfied–which means minor keys and clarinets and spirited dances that are really peppy.

So even though the musicianship is top-notch, there’s plenty of humor here.  As this review puts it

It combines the zany wit of a Spike Jones with the class and craft of a Duke Ellington and recasts the Nutcracker as a Hannukah classic with images of a dancing Latkes Queen and marching Macabees.

The humor even extends to the titles:

A Klezmer Nutracker

  • Kozatsky ’till You Dropsky
  • Dance of the Latkes Queens
  • March of the Macabees
  • Araber Tants
  • Dance of the Dreydls
  • Waltz of the Rugalah

The rest of the disc is made up of Other Klezmer Classics.  Despite the abundance of Satie, these songs don’t quite do it for me.  They are fine, but Gustav’s Wedding and Romanian Rhapsody are a bit too long.  Although Hungarian Goulash is wonderful

Perhaps I just prefer the songs with which I’m familiar.  Having said that, the second half is full of very good klezmer, so don’t dismiss it outright.

  • Gustav’s Wedding 4:25
  • Romanian Rhapsody by G. Enesco 4:40 (see, these two are too long)
  • Gnossienne 1 by E. Satie
  • Gnossienne 2 by E. Satie
  • Gnossienne 3 by E. Satie
  • Hungarian Goulash (based on Brahms)
  • Nekhome–Solace (after “Prelude 4,” Chopin)
  • Turk in American
  • Russian Bulgar
  • Gymnopedie 3 by E. Satie

[READ: July 9, 2017] 100 Girls

I really enjoyed this book (first in a series apparently), and was about to say it’s really good for an Orphan Black-type premise, and then I saw that it came out in 2005–many many years before Orphan Black. So, three cheers for the originality then.

The book begins with Sylvia waking up from a nightmare.  Right off the bat the drawing style is notable–Todd Demong’s style is really interesting–angular and exaggerated but not “cartoony,” the proportions and angles make the story more hyper-real than cartoony, which is pretty great.

When she wakes up, she hears her parents talking about her…how she has changed and become more difficult.  Her dad blames it on her being a teenager, but her mom thinks its something more.  As she walks to school with her friends, we see that a car is doing surveillance on her. (more…)

Read Full Post »

« Newer Posts - Older Posts »