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Archive for the ‘Humiliation’ Category

[LISTENED TO: August 2016] Neil Armstrong Is My Uncle & Other Lies Muscle Man McGinty Told Me

neilThe title of this book sounded weird and fun. So I grabbed it from the audio book collection at the library and we listened to it on the way home from vacation.

Set in Long Island (narrator Emily Bauer does some great Long Island accents for the adults (and a few kids) in the story), this is the story of a young girl, Tamara Ann Simpson (Tammy) growing up on Ramble Street in 1969 just a few weeks from the Moon Landing!

But that’s miles away.  Because it is summertime and all she can think about is kickball.  Well kickball and her friend Kebsie who took off all of a sudden one day without even saying goodbye.

Kebsie was Tammy’s best friend.  She lived in a foster home on Ramble Street.  They did everything together and even had a secret “arooo” signal.  They were BFs and even bought necklaces to prove it.  Kebsie was a straight shooter and took no crap from anyone.  And then one day, she was gone.  As we understand it, her mother returned and took Kebsie away to secret place because there was some kind of abuse in he family and they needed to be removed from everyone they knew. (more…)

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liofriends SOUNDTRACK: RHEOSTATICS-Railway Club, Vancouver, BC (November 1987).

RailwayClub87-PROD91It’s pretty impressive that this show (ostensibly from the same month as the previous show) has such a different setlist.  Between the two shows they play 22 songs and only four are repeated.  And this time five of the songs come from their debut album, Greatest Hits.

This tape begins with a recording of “Indian Arrow” by the 13 Engines.  It sounds very different from the other songs on the tape–the audience is very loud and you can hear a woman say “I wanna sing this one” (!).  I know this song from a Martin Tielli solo tour (and indeed, he sounds pretty much solo here–although there is a piano, too).

The rest of the tape all has the same audio quality but sounds different from the first song.  “Crescent Moon” begins mid-song (as if it was recorded over by “Indian Arrow”).   “Sad Sad World” is more upbeat than the title suggests with a “vocal solo” introduced with Dave and Tim chanting M-R-T-I-N in time with the music.  An upbeat “Ditch Pigs” leads to some silly banter during the guitar solo.  “Churches and Schools” sounds a lot like Talking Heads.  “Bridge Came Tumbling Down” is a Stompin’ Tom Connors song–they really had been playing him since forever.  Then they play a good version of “Higher and Higher” (from Greatest Hits).

It’s their last night in Vancouver, apparently which leads to a lengthy talk about he next song–a funky version of “Good on the Uptake” with lots of screaming at the end (from Tim).

The band plays the full version of “The Ballad of Wendell Clark” (with a some jokes about “Joel” whoever that is).  It’s rollicking and stomping and Martin starts playing “O Canada” as part of the solo.  Bidini stops the song and asks him to play it again, so Martin plays it on a good echoed effect (and Dave Clark shouts “alright Joel!”)  There’s some inappropriate jokes before Martin launches into a delicate version of The Beatles’ “Across the Universe-“-not the best version I’ve heard but still nice.

The final song is a romping stompin “PROD”–the only song The Rheostatics play in G#.  It has a fun shambolic end and it ends the set with them saying they’ll be back to play some Menudo tunes after a short break (which we never do hear).

[READ: January 15, 2016] Making Friends

It’s unsettling to me that the Liō books come in different shapes.  This one is even hardcover!  The contents of these stories are not unsettling to me though, even if they are to some readers (looking online, you can find gripes).

Liō continues to be a strange kid who loves zombies and squids and spiders and playing pranks.  This is his latest book (and I just confirmed to see that he is still publishing daily, so a new book must be coming soon, right?).

Tatulli still has some great gags.  And this format book has some of the strips in color. (more…)

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zabimeSOUNDTRACK: ST. PAUL AND THE BROKEN BONES-Tiny Desk Concert #410 (December 6, 2014).

stpaulPaul Janeway stands on Bob Boilen’s desk wearing gold shoes  and singing his heart out.  Janeway is the lead singer of St. Paul and the Broken Bones, a seven-piece soul band based out of Alabama.

Janway has a powerful voice and sings in a very old-school soul style.  The Broken Bones consist of two guitarist, a keyboardist, a trombone, a trumpet and drums.

They play three songs, “Half the City,” and “Call Me” (in which he does some great shuffle dances on the desktop and seems to almost fall off the desk) are full throttle dancing soul music.  The final song is kind of a sad song, a story about how the band got together called “Broken Bones and Pocket Change.”

There’s a funny moment when Bob asks if he’s hot way up there and he Janeway replies, “Is it hot?  Naw man, we’re from Alabama.”

The band was fairly new back in 2014, but I see that as of this week, they have a  new album coming out. So good for them.

[READ: March 1, 2016] The Zabîme Sisters

When I read this book, back in March, I had been reading a lot of First Second graphic novels (I’m very close to having read them all!).  And reading this publishers entire catalog has led me to read amazingly detailed and interesting stories about real events.  And that’s pretty awesome.

This story is set in Guadeloupe, but unlike some of the other real-life stories of horror and degradation that I’ve read, this one is a simple story of childhood in a Caribbean island.

Not a lot happens, and yet the story is charming and enjoyable.

The story is told in 3 parts.  It is about three sisters, I’m not sure if they are triplets or just close on age.  I like how they have similar features but distinctive hair. (more…)

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overpoSOUNDTRACK: J. MASCIS-Tiny Desk Concert #406 (November 22, 2014).

mascisJ. Mascis is best known as a wailing guitarist who plays in front of a wall of speakers with Dinosaur Jr.  But for this Tiny Desk Concert he busts out an acoustic guitar and plays some songs from his solo album (as well as an old Dino classic).

“Stumble” is sung in Mascis’ delicate falsetto.  They zoom in on him singing and its amazing how he doesn’t seem to be straining in any way doing this really high voice.  After all the falsetto, his saying “Thanks” in a deep voice is really kind of funny.

For the second song, he busts out the classic “Little Fury Thing.”  This acoustic version sounds really good–so simple and clean.  The original is great burst of loud rocking and it’s amazing that the song can sound so good stripped down. His voice is much deeper for this song .  I love at the end how he plays the strings really really fast but continues to swing in his most languid style.

The third song is actually two songs.  He switches guitars (and is apparently using sheet music) to play “Drifter/Heal the Star.”  The first part is a lengthy, really pretty instrumental.  For all of Mascis’ noise and rocking out, he knows how to write beautiful, lovely melodies.  The main melody is played on the high strings alternating some great strumming on the low strings for the “chorus.”   I could listen to this for ages.

The song segues into “Heal the Star” which sounds very Mascis–his most Mascis voice and strumming style.  Although for the chorus he’s back to the falsetto vocals again.  The solo a the end is great as he plays chords on the lowers strings while soloing ion the high strings (there must be a different tuning to make this sound so good).

I saw Dinosaur Jr a couple of months ago and I’m going to see them in November again.  I love Mascis’ loudness, but it’s wonderful to hear him play these quiet pieces too.

[READ: April 1, 2016] Overpowered!

I loved the premise of this book right from the start.  I mean, the cover alone is great, and flipping through it, there are some wonderful images of men with great mustaches in turbans doing all manner of hypnosis to people.  What I didn’t expect (but probably should have if I’d read his bio on the back) is that Green himself is a practicing hypnotherapist (in addition to being an actor and performer who has created such characters as “US Country music star Tina C and pensioner rap star Ida Barr.”

It turns out that Green has been interested in hypnosis for a long time.  He learned how to do it and then wanted to set the record straight for what hypnosis actually is as opposed to what we believe it is.

So this proves to be a thorough (and very funny) history of hypnosis through the years.   He says the book is called “Overpowered” because “I’m fascinated by the delight human beings derive from the idea of being taken over.  Being conscious may be beneficial, but it is also hard work.” (more…)

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lioSOUNDTRACK: RHEOSTATICS-El Mocambo, Toronto ON (November 1987).

ElMo-Nov1987After re-listening to some of the Rheostatics most recent shows, I checked the Rheostatics Live site and found out that he has added some really old shows.  This show is the oldest show on the site, dating back to 1987.  A brief Rheos history shows that in the earlier incarnation, it was Dave Bidini, Tim Vesely and Dave Clark.  They were joined by the Trans Canada Soul Patrol and played mostly R&B and funk.  Around 1985 the Soul Patrol left and Martin Tielli joined.  Around the time of this show, they had released Greatest Hits.  And then they broke up (circa 1988).  Then they reformed in 1991 with an entirely different sound.

So this is from what I guess you’d call he Mach II era: no Soul Patrol but before the breakup.  Interestingly, only two songs from this how appeared on their debut album, although many appeared on earlier demos.

They play 11 songs, including what I assume is an improvised rap from Dave Clark (the really silly one of the band).  And the songs are dominated by a smooth guitar sound and often times a funky bass.  Perhaps the most amazing thing about this set is the prominence of Tim.  He sings many of the songs and Dave includes him in many jokes.  Martin is almost non-existent.

“National Pride” dates back to 1983 and starts as a kind of goofy rap song but then turns into the funky version from the demo.  Martin Tielli also released a solo song called “National Pride” which is nothing like this.  They follow this with the “Greensprouts Theme Song” (which they played at the AGO almost 30 years after this show).  Dave Clark calls it the “silliest song ever written,” although in the years hence they have made a few challenges to that claim.

“Good on the Uptake” is a song I’ve heard in a few places before.  Tim sings lead and there’s a kind of funky bass line with lots of guitar harmonics.  I think Martin is singing backup (and probably playing the harmonics).

Tim breaks a string and Dave Clark shouts, “This song is called Rheostatics learn how to string their guitar.”  With a broken string they play an impromptu version of “Red Dog Ray” taught to them by Reverend Ken and the Lost Followers “about the beer strike in 1983.  We were all pissed off because we had to drink Old Milwaukee and Rolling Rock and all that shit.”  This song has come up in their sets in the early 2000s.

It segues right into “Ditch Pigs” from Greatest Hits and sung by Martin.  The middle section devolves into a chant of “I want an egg salad sandwich and a glass of Coke.”

For “Four Upright Walls” Bidini introduces David Clark as the Poet Laureate of Etobicoke.  This is a rap of sorts in which the band does response to Dave’s rap (with all kinds of crazy sound effects and even some beatboxing (!)).

“Crystal Soup” is very much a Tim song–it sounds a lot like a song he would write now–there’s a surprise guitar riff in the middle of the verses that sounds a bit like Rush.  At the end of the song Dave introduces “Mr. Nigel Tufnel,” although I’m not sure to whom he is referring.  “Sue’s Mining Song” (also sung by Tim) has a kind Rush feel although the lyrics are very un-Rush (“woman,” “girl” and a line about “buzzards on your Steely Dan”).  It also features Tim screaming a high note!  It’s a pretty heavy song (especially at the end).

It’s funny that they follow-up with “a nice song,” Martin’s sung “Crescent Moon” a very, very new wavey song that Bidini wrote, and which leads of Greatest Hits.  They follow with a fun and fast rocking “People’s Republic of Dave” in which Dave encourages Tim to make silly faces.  And Tim growls that he wishes his name was Dave.  This seems like a great show ender, but they’ve got one more song.

“Chemical World,” has a kind of discoey guitar opening and lots of slap bass.

[READ: January 5, 2016] Zombies Need Love Too

I prefer to read series like this in order, but sometimes you can only get the books that you can get (and you don’t get upset).  For reasons I don’t understand, my library only had the first two books (which were also collected in Liō’s Astonishing Tales which they also have) and the two most recent books.  There’s maybe two books in between, as far as I can tell.

The good thing is that there’s not a lot of forward narrative in these stories–except perhaps for the new pets that Liō acquires.

So after four years what is Tatulli writing about?  Well, largely the same stuff, which is fine with me. (more…)

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julyaugSOUNDTRACK: RHEOSTATICS (Art Gallery of Ontario, Toronto, ON, September 5, 2015).

06Sep2015Almost exactly one year ago, my family traveled to Toronto as a mini-vacation.  The impetus was my scoring tickets to see the Rheostatics live for the first for me (and potentially–but not in reality–last) time.

They had called it quits 8 years earlier and were reuniting for the 20th Anniversary of their Group of 7 album–a soundtrack of sorts that was created to celebrate the works of the great Group of 7 artists.  They were scheduled to perform three nights at the Art Gallery of Toronto.

I purchased tickets to the second night assuming that the first night they might be a little rusty and the final night they might be burnt out.  Well, it turns out, that was completely faulty logic.  The first night was pretty great.  The final night was outstanding and my night proved to be the weakest of the three.  Of course, it was still awesome, especially since I didn’t know that it was the weakest at the time).

In terms of recordings, this one is a little less clear than yesterday’s show as well (it was recorded from the upper section of the hall).

The Go7 part of the show was pretty stellar.  You can read my review of the full show here).  During the break after track Six, Dave began talking to us, mostly thanking people and then commenting “we’re totally feeling the love.”  Dave says his dad’s here tonight and he lent us his car for their 1988 tour. (Sorry, dad).

When the Go7 album was over, the band played some bonus tracks.  Last night they played “Claire” and “Horses,” two songs I would have loved to hear.  So when Tim walked up to the mic, I was sure we’d get Claire, but instead, we got “Henry’s Musical Beard,” a one minute song of total what the…?  I can’t imagine when it was ever played before.  But even though i didn’t get the songs I really wanted, I did get some songs that were still awesome: “Bad Time To Be Poor,” “Stolen Car” (amazing!), “Legal Age Life” (much fun), “Christopher” (another favorite), and “Saskatchewan.”

“Bad Time” sounded great–a lovely Tim sung song.  Before “Stolen Car,” Dave described it as a desperation song, there are bad things going on in our country we have chance to change that on Oct 19.  (Hard to believe that our election process was underway at that time as well).  Martin seemed to miss a bit during the song, but was backed up wonderfully by Hugh Marsh on violin.

“Legal Age Life” was a lot of fun.  Before the song began he shouted, “Fuck art, let’s dance.” And dance we did.

Our version of “Christopher” was pretty catastrophic.  Before playing it, Dave introduced it by saying, “Let’s hear it for Saskatchewan.”  But they played “Christopher.”  It has a very cool slow opening, but Martin got really lost during the song.  He repeated lines, forgot words and about half way through, he just ended the song (two minutes shorter than the other ones).  I remember being concerned for him, because he seemed really upset about the performance.

They ended the show with “Saskatchewan” a great song that I love (and we were the only night to get it, so yes, we were lucky indeed).  As I say, at the time, I was so excited to be there and to hear everything.  It is definitely sour grapes to complain about the other nights, and I should just consider myself lucky that I can still hear them.

But between Martin’s stress and Dave’s surprising lack of banter (and, no “Claire” or “Horses”), Saturday was definitely the weakest night of the three.

Amazingly, though, with the various differences, the length of the concert is almost exactly the same length as the first night).

01. One (Kevin’s Waltz)   2:40
02. Two (Earth (Almost))   7:42
03. Three (Boxcar Song (Weiners and Beans))   7:00
04. Four (Landscape And Sky)   0:46
05. Five (Blue Hysteria)   3:55
06. Six (Cello For A Winter’s Day)   8:03
07. Banter   4:05
08. Seven (Northern Wish)   5:09
09. Eight (Snow)   2:05
10. Nine (Biplanes and Bombs)   7:00
11. Ten (Lightning)   8:01
12. Eleven (Yellow Days Under A Lemon Sun)   7:53
13. Henry’s Musical Beard   0:57
14. Bad Time To Be Poor   5:31
15. Stolen Car   8:54
16. Legal Age Life   7:05
17. Christopher   4:27
18. Saskatchewan   7:36

[READ: August 19, 2016] “The Shoe Emporium”

The July/August Summer Reading Issue of The Walrus has a theme of “Love and Lust.”  The theme promised to be a bit more upbeat than the darker stories in the last few issues.  Of course the other two stories this month were a little dark, but this one was pretty much just very funny.

It involves a delightfully convoluted romantic triangle of people working at The Shoe Emporium.  And I loved the way the story was structured.

We begin with Steve, a 40-something year old guy working as a shoe salesman (he has a past).  He is helping a customer and she is kind of smitten with him.  Steve is hunky, and has the best features of his Irish-Canadian heritage showing.

And then the story shifts to his boss, Cathy.  Cathy is 20 years younger than him–although she makes less money.  We lean about Cathy because of a high-tech device that measures the heat of people’s feet (to best get their feet to match a shoe).  Cathy had pressed it to her heart to demonstrate.  She was showing this to the other salesman, Marty.  But Steve saw it as well and thought that he could see an imprint of her nipple in the pad.

When Steve saw that, he was instantly turned on.  Mostly because he typically didn’t think much of Cathy before that.  She’s usually angry–justifiably as she is working two jobs and going to school.  But mostly, she really wants to win the top salesman prize–a  trip to Toronto and tickets to the musical Kinky Boots.

Even though he knows she wants to win, Steve is trying his best to beat her even though he doesn’t care about Toronto or the musical.

The two are pretty close in sales and he is doing a great job today.  Across the store, Cathy has a family with a crying child–never a good sign for mega sales.  Especially since the daughter wants an expensive shoe which the mother doesn’t want to buy.

But what of Marty?  Marty also has a fascinating back story.  Until recently, he lived with his grandmother.  She recently passed away (in a shocking fashion).  She was also a marine biologist and there is some amusing talk of sea cucumbers.  His grief was intense and he went to a gay party (he is 100% gay) and took a lot of drugs.  He’s been in a haze since.  And he has recently hooked up with Cathy.  But it had to have been the grief or drugs because Marty is definitely 100% gay (he thinks Steve is pretty hot too).

Cathy knows Marty is gay, but she believes the hookup has changed things–it was pretty great.

As the story comes to a close we get a close up look at that hook up which is steamy and funny, and we see Steve double down on trying to sell an expensive pair of Saucony to a customer who clearly can’t afford them.

I’d love to see more of this story–I really want more of these three.  This has been my favorite Walrus story in a long time.

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julyaugSOUNDTRACK: RHEOSTATICS (Art Gallery of Ontario, Toronto, ON, September 4, 2015).

06Sep2015Almost exactly one year ago, my family traveled to Toronto as a mini-vacation.  The impetus was my scoring tickets to see The Rheostatics live for the first for me (and potentially–but not in reality–last) time.

They had called it quits 8 years earlier and were reuniting for the 20th Anniversary of their Group of 7 album–a soundtrack of sorts that was created to celebrate the works of the great Group of 7 artists.  They were scheduled to perform three nights at the Art Gallery of Toronto.

I purchased tickets to the second night assuming that the first night they might be a little rusty and the final night they might be burnt out.

Well, it turns out that the first night was really strong.  There are two recordings of the show on the Rheostatics Live site.  Obviously the content is the same, but the sound is different in each one.  (The Eric Mac Innis recording is quite muffled and bass heavy so you can’t really hear any of the spoken stuff).

The main content of the show-the music from the Group of 7 album is pretty consistent through all three nights.  It’s mostly the length that varies on a couple of tracks and some little details that change from night to night.  On this night for instance the opening speech that in which the man says “every Canadian” does not repeat like it does on the other nights.  It also seems like “Six (Cello for a Winter’s Day)” doesn’t get quite as crazy and loud before the “jazzy” section comes in.

Before they get to “Northern Wish,” Dave introduces “Northern Wish,” by talking about how he wrote it: “The amazing thing about Canada is that every time you leave the door an incredible impossible journey is waiting for you not far from your house.”

They didn’t play “Ten (Lightning)” the first night, so it’s fun to hear all of the audience whoops and wolf howls during the set.

Dave Bidini is in great banter mode, which is no surprise really.

He first starts talking after track six.  “Nice to see you again, you’ve all age well.”  After welcoming everyone he jokes “Really tonight’s about hooking up.  Last night as a bit of a meat market.”  This causes Martin to ask, incredulously, “you’re kidding.”

Upon introducing the record properly he says that this was “music commissioned 20 years ago–remember 1995?”  Someone shouts “Don’t forget the vinyl, Dave.”  So he jokes, “We’ve only been inactive for 8 years and in that time vinyl has made a resurgence.”

They only performed this album “four times over the course of their speckled career.”  Interesting that they will do it three more over the next three nights.

So that leaves the bonus tracks.  The first night they played four: “Claire,” “Easy To Be With You,” “Christopher” and “Horses.”

Before starting “Claire” there’s a little down time so Dave introduces Kevin Hearn and asks him what his favorite snack is.  Kevin: “Have you heard of ants on a log?”  Dave says his is a Cadbury Crunchy bar which “lasts a half hour if you nurse it.” MT: “What kind of chocolate bar eater are you?”  Then Dave asks, “Shall we go around the horn?” to much laughter.  He speculates, “Tim’s gonna say …”  But Tim says “home-grown carrots” which elicits an “ewww.”  Dave says, Tim you’ve changed so.”

As they start “Claire,” Martin introduces Hugh Marsh on the violin.  He says that at the first concert he ever went to Hugh was playing with Bruce Cockburn and now they are very very very close friends.”  He then mentions their other band, Nick Buzz (which Hugh plays in) and he says Nick Buzz “only played four gigs on our career.”  “Claire” is played wonderfully.  They talk about it being kind of obvious (“interesting because it’s totally obvious”) that they’d play it.  But “Easy to Be with You” a track from Harmelodia is a pretty surprising choice–a popular song sure, but certainly not a huge one.  Before the song, he sings Happy Birthday to him mom: “Happy birthday to Sheila / Happy birthday to my mom / She’s 75 years old  / and she’s standing right there.”  In the middle of the song Bidini comments that Stephen Harper is not the Prime Minster of Harmelodia (indeed, he is not).

Dave asks is anyone under the age of 7 is there.  Kevin says: “My dad’s here.”  Dave asks, “Is he a leap year baby?”  Then Kevin explains that it is his dad who is reading the “Tall White Pine” poem.  Then they ask Don if he has any family there.  Don says “All of them.” Dave says “Don’s four families are here.”

The Jeff Robson recording has some weird digital feedback and static.  It’s mostly during the chatting parts, but it does impact the songs a little.  There’s some static on “Christopher,” but otherwise it sounds pretty good.

Before “Horses”someone asks “who should we vote for?” Dave says “Never listen to a pop star when it comes to politics.  Tomorrow will be political night.”

And “Horses” is a dynamite version, notable mostly for the fact that Bidini doesn’t do a spoken word section in the middle of the song (keeping it unpolitical).

01. One (Kevin’s Waltz)   1:47
02. Two (Earth (Almost))   7:33
03. Three (Boxcar Song (Weiners and Beans))   6:16
04. Four (Landscape And Sky)   0:42
05. Five (Blue Hysteria)   4:33
06. Six (Cello For A Winter’s Day)   6:01
07. Chat   5:40
08. Seven (Northern Wish)   5:35
09. Eight (Snow)   1:18
10. Nine (Biplanes and Bombs)   6:13
11. Ten (Lightning)   6:30
12. Eleven (Yellow Days Under A Lemon Sun)   4:50
13. Clarie Intro   1:21
14. Claire   4:47
15. Chat   2:56
16. Easy To Be With You   3:32
17. Chat   3:19
18. Christopher   6:08
19. Horses   8:07

[READ: August 19, 2016] “Never Too Late”

The July/August Summer Reading Issue of The Walrus has a theme of “Love and Lust.”  The theme promised to be a bit more upbeat than the darker stories in the last few issues.

Bev is a man who is long divorced.  He couldn’t provide his wife with children so she left him.  He doesn’t seem very bitter about it and is even still friendly with her as well as her new husband and their children.

Bev owns a farm–he has some horses and cows.  On a cold morning in April, a strange dog appears on his property.  It’s a friendly dog but he wants to get it to its owner so he brings it into town and learns that it belongs to Janice and  “She loses her [dog] at least once a week.”

He goes to Janice’s house and she is very happy that Bev found “Keller.”  He brings the dog upstairs to her place and is surprised to see that she is in an electric wheelchair.  He notices that she is too young to be in it due to age.  And, she’s also very attractive. (more…)

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julyaugSOUNDTRACK: RHEOSTATICS (Art Gallery of Ontario, Toronto, ON, September 3, 2015–surprise show).

06Sep2015Almost exactly one year ago, my family traveled to Toronto as a mini-vacation.  The impetus was my scoring tickets to see The Rheostatics live for the first for me (and potentially–but not in reality–last) time.

They had called it quits 8 years earlier and were reuniting for the 20th Anniversary of their Group of 7 album–a soundtrack of sorts that was created to celebrate the works of the great Group of 7 artists.  They were scheduled to perform three nights at the Art Gallery of Toronto.  The night before their first show, Thursday the 3rd, there was a tribute show and the Rheos made a surprise appearance.

They played half of the Group of 7 album and a few encores.  The sound is a bit muted but is pretty clear.

The opening track, ” One (Kevin’s Waltz)” is played by Kevin Hearn and sounds great.  For the first proper band song, “Two (Earth (Almost))” they sound tight but maybe a little stiff in the bah bahs.  “Three (Boxcar Song (Weiners and Beans))” is a loose song and the band sounds great. Although I cannot believe that people are talking during the song–especially during Martin’s singing of “Five (Blue Hysteria)” the first time Martin has sung in years!

“Six (Cello For A Winter’s Day)” is usually a noisy/jazzy number.  The recording is a little too muffled to hear details, but the song sounds good, especially Martin’s guitar workout at the end. After this, they skip a few songs and go right to the end, with Kevin’s “Eleven (Yellow Days Under A Lemon Sun).”  Kevin’s voice sounds a little rough I must say.

And then they take time for a little chat with Dave, in which he says “We used to be the Rheostatics.”  And before returning to the album, he says “We’re here for three more night, try the veal.”

For “Northern Wish,” Don Kerr is on cello Tim is on upright bass, and it sounds great, a really beautiful version.

“You guys bought the cheap tickets, eh?  We’re gonna cheapen up this next song for you.  Martin comments “Let’s get fucking cheap.”  They’ll do one more song.  Dave says The other shows will be longer.  “But they’re fucking sold out–Stubhub, folks.”

Martin thanks Kristine Peters and clonazepam [ a seizure medicine, also called an anti-epileptic drug].  Dave jokes, “that’s Martin’s old band.”

As they play a gorgeous Saskatchewan, Dave notes, that it’s their “First time playing together in 8 years.”  Martin plays a slightly off chord and then comments “It’s been a long time.”  But his guitar sounds amazing throughout.

Before the final song, David says “because we can’t stop playing we’re gonna do one more–we gotta catch the last street car (someone in the audience yells “too late.”)  There are the perennial requests for “Horses” with someone shouting “Holy Mackinaw Joe,” but instead they play “Legal Age Life, with Paul Linklater (who played in the tribute show) to play some guitar.

I’m including the setlists from each night mostly for the duration of the songs–they did some versions longer than others, but were mostly right on time–(and to compare encore selections).

01. One (Kevin’s Waltz)   1:47
02. Two (Earth (Almost))   7:14
03. Three (Boxcar Song (Weiners and Beans))   6:47
04. Four (Landscape And Sky)   0:51
05. Five (Blue Hysteria)   3:43
06. Six (Cello For A Winter’s Day)   6:08
07. Eleven (Yellow Days Under A Lemon Sun)   3:32
08. Chat   1:09
09. Seven (Northern Wish)   5:25
10. Encore Chat   2:19
11. Saskatchewan   8:05
12. Encore Chat   1:35
13. Legal Age Life At Variety Store   4:14

[READ: August 19, 2016] “Bye Judy and Good Luck”

The July/August Summer Reading Issue of The Walrus has a theme of “Love and Lust.”  The theme promised to be a bit more upbeat than the darker stories in the last few issues.

This is the story about “Fun-Sized” Judy.  She’s called “Fun-Sized” because of her height: “she’s no more than four-foot eleven, probably twice as wide.”  And, most importantly “None of us would ever fuck her, but we all agree she’s a riot.”

The “none of us” part is interesting because the whole story is written in second person.  as the song progresses it’s unclear if the “we” refers to a group (at times it seems like it) or a single person speaking as a group (which seems more likely at the end).

So despite her unattractiveness, Judy is enjoyed by just about everyone: Judy is a lot of fun, “one of the reasons we love her…. she never knows what she’s thinking.” (more…)

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may5SOUNDTRACK: THE FAMILY CREST-Tiny Desk Concert #379 (August 4, 2014).

familycerstI first heard The Family Crest on this Tiny Desk Concert back in 2014 and I immediately fell in love with them.  I received their album for Christmas, and it’s quite fantastic.

The band plays a wonderful mix of over the top chamber prog rock mixed with healthy doses of jazz.

There are seven people in the band, which is centered around guitarist and (amazing) vocalist Liam McCormick.  Their instruments include violin, cello, upright bass, flute, trombone, drums, and guitar but this band rocks hard (and McCormick can wail like the best of them).

The set begins with the jaw dropping “Beneath The Brine” which opens with a great cello riff and is quickly accompanied by violin and flute.  When the full band kicks in, grace notes are added to the riffs to really fill out he song (from the flute and the drums) and it builds until Liam starts singing.  His voice is powerful and strong with a great sense of melody.  The drums, by the way are playing wonderful jazzy patterns and accents.  But it’s around 2:30 that Liam shows just what he can do with his voice as he hits some amazingly powerful high notes.  As the song romps to an end, you can hear all of the instruments adding to the music before the final quite coda.  It’s fantastic.

“Howl” is inspired by jazz.  Liam was trained in opera (which explains a lot) and the band is full of classical fans, so he was excited to add Charlie the jazz drummer “hey man wanna listen to Miles David and drink whiskey?”  The song opens with a big trombone riff before settling into a snappy jazz song.  This song has a number of loud and quiet moments that work well together.  It’s even got a great “ba ba ba ba ba ba” section that is fun to sing along with.

 They ask “one more?”  And Bob says “or stay all day.”  So they play the final song, “Make Me a Boat.”  If you can forgive the little GoPro ad, it’s neat that this relatively unknown band has been embraced by the camera company.  “Make Me a Boat” doesn’t seem like the most obvious choice for a video since the beginning is kind of slow, bit the middle section is really pretty and has a great flowing feel that would work well with a video.  And in this live version Liam does some great improv singing of powerful high notes that really flesh out the melody which the rest of the is playing (no wonder he’s so sweaty by the end).

The album fleshes out the orchestral sense of the band with a 30 piece orchestra which makes these songs even more grand.  The Family Crest was a great find.

[READ: February 22, 2016] “Letting Go”

Sedaris is one of the funniest writers when the topic is smoking.  He is (or was, I suppose) and inveterate smoker.

And I love that he starts the essay with this paragraph:

When I was in fourth grade, my class took a field trip to the American Tobacco plant in nearby Durham, NC.  There we witnessed the making of cigarettes and were given free packs to take home to our parents. I tell people this and they ask me how old I am, thinking, I guess, that I went to the world’s first elementary school.

He starts this essay talking about how much he hated smoking when he was a kid.  His mother smoked all her life and he just hated it.  Not the smoke so much but the smell–he found it depressing “the scent of neglect.”

Of course then he started smoking himself.  He talks about trying to decide which brand to use–the brand you chose was a statement back then.  He chose Viceroy.  And he started smoking them when he was in Vancouver. (more…)

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CoverStory-KadirNelson-ADayattheBeach3-879x1200-1467305948SOUNDTRACK: LYDIA LOVELESS-Tiny Desk Concert #369 (July 1, 2014).

lovelssI want Lydia Loveless to be a punk singer–Her name is like a combination of Lydia Lunch and a last name that conjures up an asskicking punk.

But not the country singer that Loveless is (even if she is ass-kicking herself). Loveless is a new breed of alt-country which is pretty explicit with noticeably rocking guitar solos.  But her voice is so twangy it’s hard to not call it country (and in fact it’s a bit too much for me to take sometimes).

“Head” features this rather memorable chorus “Don’t stop getting undressed /Don’t stop giving me head.”  It seems especially surprising since Loveless looks like she’s about 12 (she was 23 at the time of this recording).  The buzzy solo is lengthy and more or less runs throughout the song.  Although at some point when Loveless takes her own solo the whole sound seems to fade out and get a little anemic.

Her band is fun with her bassist being very tall and having very long hair playing a very tall upright bass.  And then there’s another guy playing guitar and lap steel.

“Verlaine Shot Rimbaud” has a title that begs for an awesome song.  It’s not an epic masterpiece or anything.  In fact its closer to a pop song, The slide guitar and Loveless’ heavy accent on the chorus place it firmly in the country camp.

“Mile High” has a fun folk riff.  It sounds a lot like The Byrds and the chorus is super catchy.  If I could get her to sing less twangy I would love this song much like I love the punk country of X, or at least the Knitters.

[READ: December 29, 2010] “Who are All These Trump Supporters”

[This essay in the New Yorker also came under the heading “Trump Days.”]

So the title of the essay is a question I myself have been asking as I watch the hatred and vitriol bubble over during the convention.

If there was anyone I wanted to write this piece it would be George Saunders and he is actually the only reason I read it in the first place (I plan to read all of his contributions to the New Yorker eventually, but I’m glad to have read this one when it was timely–I hope it will be utterly irrelevant by the time I get to the rest of his works).  He self identifies as a liberal (although he was a conservative who loved Ayn Rand way back in the Reagan era).  He is a thoughtful and not prone to anger–a perfect foil for the crowd.  And he’s got a great way with words.

So great in fact that I’m just going to be quoting him a lot.  I could have pulled more excellent quotes from the essay, but really you should read the whole thing. (more…)

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