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Archive for the ‘Memoirs’ Category

julyaugust200SOUNDTRACK: SUDAN ARCHIVES-Tiny Desk Concert #979 (June 22, 2020).

sudanSudan Archives at Johnny Brenda’s was a show I had really wanted to see.  When I realized she was playing there the show was already sold out.  Then Coronavirus came in and shows were starting to get cancelled.

A friend of mine went to this show (she had gotten tickets early) and said that so few people had actually shown up that they were letting people in.  I was torn about going but I had been out of work for the whole week already and it didn’t seem safe.

It was the last show I could have gone to for a long time.  It was also the last Tiny Desk Concert for the foreseeable future.

By the time Sudan Archives arrived at NPR in Washington, D.C., on March 11, everyone was concerned about the coronavirus threat. So we sanitized the desk, the mics and the cameras. We also kept our distance.

When the show was over and the small, socially-distant crowd of NPR employees dispersed, our crew began to wipe everything down with disinfectant wipes. Our incredible audio engineer, Josh Rogosin, started to set up for what we thought would be the next Tiny Desk show, the Pulitzer Prize-winning opera p r i s m by Ellen Reid and Roxie Perkins.

Josh Rogosin remembers the day clearly. “After the Sudan Archives concert, I optimistically went about setting up for a string quartet plus an eight-person choir and two vocal soloists, plus harp and conductor,” he told me. “About halfway through my set-up, our boss gathered us around the Tiny Desk and made the painful but obvious decision. No more Tiny Desks until further notice.”

It’s a shame that that is such an unforgettable part of this show because the 13 minutes of Sudan Archives are wonderful.

Normally–at least at Johnny Brenda’s, she played solo with looping pedals and acoustic and electric violins.  But for the Tiny Desk

She came not with an array of electronics, but with violinist Jessica McJunkins, violist Dominic Johnson and cellist Khari Joyner. The new arrangement at the top of “Confessions” was the perfect tension queller.  And those arrangements also heighten the lyrics. Listening again three months later, three weeks into police brutality protests, the words — “There is a place that I call home / But it’s not where I am welcome / And if I saw all the angels / Why is my presence so painful?” — take on new meaning.

“Confessions” is the song that’s all over WXPN.  This version opens with opens with a lovely string section arrangement–evidently new for this show.  Then as the cello plays the deep part (I love that a cello can keep rhythm this way) the other three play the familiar super catchy sliding melody.  Her voice sounds very clean and she is clearly smiling throughout (you can hear it in her voice).

“Glorious” is clearly inspired by traditional Irish music, but a bit more slinky.  The melody and rhythm that she plays in the lead sounds so trad and yet she sings with a very not-Irish style of singing.  It’s a great juxtaposition.  It’s fun to watch her groove as she plays it’s very danceable–especially for a string quartet.  And her soloing is pretty great with some really fast hammer-on soloing.

She says that this is the first time she is playing with the trio.

The last song is “Not For Sale” which she says is one of her favorite songs.  I love that as she’s getting the trio ready she does a kind of mindless guitar solo noodle–a fast solo including bending a bent string.  The song starts all pizzicato and she kind of raps part of the lyrics–another great juxtaposition of musical styles.

I’ll bet she was great live.  I hope she comes back around before too long.

[READ: June 23, 2020] “The Peace Lily”

This month’s issue of The Walrus is the Summer Reading issue and features two pieces of fiction, one memoir and three poems.

The last piece is a poem. It is about a peace lily.

She bought it at Thrifty Foods for $4.99.

She was inspired by its poker-green leaves and flowers which looked like studded Jacobsen Egg Chairs.

She brought it home and put it on a sunny bookshelf.

Within a week, its leaves
had black spots.  A second
week saw its flowers gone.

She got advice from her mother and the internet.  She took the advice and it gave her one flower

which drooped before
ever really blooming

If anyone has ever failed to keep a flower, this sentiment is right on:

To say the peace lily died
would be an understatement.
like a famous connoisseur
of death, it took its time:
every last leaf withered
into a black ash that stuck
on the shelf

It was all the more frustrating because the more she did to see it thrive

the less interested
it seemed in living

Until finally, you reach the point where you’re happy it’s out of your life

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julyaugust200SOUNDTRACK: BENNY THE BUTCHER-Tiny Desk (Home) Concert #36 (June 19, 2020).

bennyI’d never heard of Benny the Butcher and when I was listening to his boasts, I assumed that maybe he was really old school.  He makes a crack about Nicki Minaj that made me think he was like 50, but in fact she is older than he is (which is pretty funny).

Benny the Butcher is part of “the triple threat emcee collective from Buffalo, N.Y., consisting of Westside Gunn, Conway, and Benny the Butcher” known as Griselda.  They were supposed to do a Tiny Desk until the coronavirus hit.

Benny the Butcher blessed us with a five-song set from the living room of his current home in Atlanta. (Due to some recording snafus, some of the audio and video in this video doesn’t always sync up.)

I really like when they do five or so songs in under fifteen minutes–it’s like a highlight reel.

There’s something really amusing about these guys rapping some hardcore stuff (the n-word is mentioned about fifty times in 13 minutes) while  they are sitting in a suburban-looking house on a gray couch with plants and baby pictures on the table.  But somehow, without all of the posturing and video effects, i gets you to listen to the words more closely.    And I really liked his lyrics.

“Crown for Kings” is like an old school song full of braggadocio and lots of similes (I assumed it was a twenty year old track) at first, until he rapped

I sat back, a vet, and watched beginners winnin’ my belts
Burned my bridges, came back a good swimmer like Phelps

and then this really funny bit about going to Philly, which includes the Nicki Minaj line

What’s the dealy? I’m only ’bout six hours from Philly
That’s an hour on the plane, I’ll make it three in the Bentley
My bitch keep sayin’ I’m famous, but it ain’t hit me
I’m too ghetto, mellowed out, this Hollywood shit tricky
See, before I knew an A&R, I was weighin’ hard
Back when Nicki Minaj was in a trainin’ bra

and

“Rubber Bands & Weight” was a cool song.  Slow and intense with creepy music.  I really appreciated the slow delivery in this song.  Even though I think the challenge is to see how much you can fit into a verse, sometimes slow gets the point across better.  I also liked that this song had a recognizable chorus and the video included jump cuts of him shouting it out.

For the third track, Benny is joined by Rick Hyde and Heem, two artists on his new BSF label imprint, for a live performance of “Da Mob,” the first single off an upcoming label compilation titled Benny The Butcher & DJ Drama Presents: Gangsta Grillz X BSF Da Respected Sopranos.  This track is dark and distorted sounding.  Hyde’s style is gruff (he jump cuts to Benny’s couch). Then Heem comes in for his verse–they don;t cross paths so I assume it’s all socially safe.  Benny returns for the final verse and his is definitely the best voice of the three.

“Cruiser Weight Coke” is a title I don’t get, but I like the sinister sounds on this song–very cool low notes an what sounds like processed vocals. vocals.  This line stuck out to me:

If we link up and make plans (shake hands), it’s a done deal if we shake hands
You won’t understand me ‘less you move your family to a place they feel safe in (alright)

This track is really short (less than 2 minutes) and skips the last verse.

It seems to be saving room for “5 to 50.” “5 to 50” and “Crown” come “from his critically acclaimed 2019 album, The Plugs I Met.”  It continues in this aggressive style.  He seems to pause to really let the final section sink in.  And as the song reaches its end, the music cuts out–intentional or not, I can’t tell.  I’ve never heard a rap end a capella before, but it really makes the words hit haard and show how good his flow is even with out a beat

I can turn your front door to a drug store
Make any kitchen to a lab
Man, I hear these drug stories and I laugh
Talkin’ ’bout the Coke sales they never had
Pull up on a nigga, you gon’ know the pad
Only house with a Bentley on the grass

As the video ends, he is very pleased. He says

“5 to 50,” “Crown for Kings” “Rubber Bands & Weight,” Oh my goodness!  That’s why I’m a legend.

[READ: June 23, 2020] “Lord Mayor Magpie”

This month’s issue of The Walrus is the Summer Reading issue and features two pieces of fiction, one memoir and three poems.

The fourth piece is a poem.  It is a simple, but lovely descriptive poem about a magpie.

This poem is five long stanzas.

Magpie idles in a limousine
of black feather with a slash of white
piping that outshines all chrome

he has the brazen glamour of a motorcade.

(more…)

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julyaugust200SOUNDTRACK: ALICIA KEYS-Tiny Desk Concert #978 (June 15, 2020).

aliciaMy family was playing an online game where you have to give clues to name a person or thing.  We did a pop culture round and Alicia Keys came up I think twice.  And I asked my daughter is she knew who that was.  She said no and asked me if I did and I said no.  I couldn’t think of a song she sang and wondered if she was even still singing.

Literally the next morning, NPR posted this Tiny Desk Concert.  I still don’t know what her music sounds like on record, bu this Tiny Desk version was really nice.  I came away really impressed by her and her band.  And I loved how much everyone smiled through the set.

Alicia Keys radiates compassion and kindness. This spirit is the key to Keys’s songwriting, which is rooted in introspection and mindfulness.As she approached her piano, a bit surprised at the amount of people in the room, she smiled and remarked over her shoulder, “Gee, the Tiny Desk is tiny!”

Before the first song, Alicia plays the piano and chats to everyone.  Saying how everyone wants to be shown love.  I thought it was just a nice opening, but it was a lead in to the song “Show Me Love.”  Everyone in the audience sang along to the chorus very nicely.

 She kicked off the set with an uncanny ode to combat the darkness of this moment in American history: “Show Me Love,” a single she released in 2019. No one could have predicted then how much her lyrics and musical healing would be crucial during this emotionally fraught time of unprecedented political and racial unrest, heightened by three months of quarantine due to a global pandemic.

The first song has an acoustic guitar from Curt Chambers (played in a gentle finger-picked style with occasional slapped notes).  Omar Edwards sprinkles keys all over the song while (married) backing vocalists RAII and Whitney hitting some high notes and soft deeper notes (they are both very impressive).

Keys’ voice is really nice.  She doesn’t do anything show off-y or divaish.  She just sings beautifully (occasionally showing off all of her vocal chops).

After the song she steps away from the piano and says she’s her own personal tech–bang set change.

As she introduced her new song “Gramercy Park” she asked for some “talking vibes” so Chambers played some quiet backing music as she talked about how much we contort and conform and adjust ourselves for other people–with the best of intentions.  We are so concerned about making other people happy that we lose ourselves.

The stand-out moment during her Tiny Desk was the premiere of “Gramercy Park”, a song from her upcoming self-titled album, ALICIA, which is set to be released this fall. It’s one of those timeless songs that will transcend radio formats and genres, with lyrics that address how utter selflessness and worrying about making everyone happy but yourself can throw your own center askew. The song’s spiritual refrain is sure to be a sing-along moment for the rest of Keys’s career.

It starts with a slow beat from Mike Reid with some lovely acoustic guitars. And the lyrics say

I’ve been trying to be everything I think you want me to be
I’ve been doing all the things I think you want to see
I’ve been trying to fulfill you and your every need
Now you’re falling for a person who’s not even me.

She said she’s speaking out a lot more.  We should speak out in the moment instead of letting it pass, ignoring it, forgetting it, but you never really forget it and then six years later…

Introducing her latest single “Underdog” she asked what we would learn if we actually sat and talked to people.  It’s a great song, inspiring to anyone who has felt put upon.  This is such a good verse:

She’s riding in a taxi back to the kitchen
Talking to the driver ’bout his wife and his children
On the run from a country where they put you in prison
For being a woman and speaking your mind
She looked in his eyes in the mirror and he smiled
One conversation, a single moment
The things that change us if we notice
When we look up, sometimes

There’s cool oooohs from the backing vocalists and a nice upright bass from Ant Parrish.

After crowdsourcing suggestions, she and her band delivered a riveting rendition of Keys’s breakout 2001 single, “Fallin’.”

I didn’t know this song and I wonder how different it sounds from the original.  She sets up the beginning with some brash singing and the backing singers do some cool loud vocals.

Keys also impressed me with her great piano playing.

I’m embarrassed that Ii didn’t know who she was, because she’s pretty great.

[READ: June 23, 2020] “School of Xerex Fino”

This month’s issue of The Walrus is the Summer Reading issue and features two pieces of fiction, one memoir and three poems.

The second piece is a poem.  I don’t know what Xerez Fino is and can’t find anything about it.

There are five stanzas. The first sets up that the club where they met was Toxic.

The third sets up the scene in detail: (more…)

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julyaugust200SOUNDTRACK: PHOEBE BRIDGERS-“Kyoto” (2020).

phoebeI’ve heard this song a bunch and I like it more each time.

Phoebe Bridgers’ songs tend to be sad lyrically (and sometimes musically), but this song just overflows with wonder, melody and (apparent) happiness.

The song starts with a gentle keyboard but soon adds a fast bassline as Phoebe sings quietly.  Then pow, a big joyous chorus comes in.  Horns play a gorgeous melody and Phoebe harmonies (with herself?).  The way she sings “tokyp skies” gets me every time.

When the verse returns it feels a bit louder.  But the song is about her complicated feelings for her estranged father:

With my little brother
He said you called on his birthday
You were off by like ten days
But you get a few points for tryin’

The chorus resumes feeling even bigger and happier and yet the outro, featuring those same ebullient horns:

I wanted to see the world
Through your eyes until it happened
Then I changed my mind
Guess I lied
I’m a liar
Who lies
‘Cause I’m a liar

Phoebe said that this song was originally slow but she was tried of singing slow songs so she punched this one up.  It really reflects the mixed feelings you can have for someone.  And if you don’t care so much about the words, it’s a catchy gem.

[READ: June 23, 2020] “Dancing Bear”

This month’s issue of The Walrus is the Summer Reading issue and features two pieces of fiction, one memoir and three poems.

The first piece is the memoir, written by Dimitri Nasrallah.   I had assumed that this would be a First Nations piece with a title like that.  But it is far from that.  It starts in Beirut.

The neighborhood where Dimitri grew up was a battleground between the Palestinian Liberation Organization and the Israel military so his family left for Greece when he was four.

He stayed quiet while they tried to acclimate–they felt covered by the stench of war and wanted to keep a low profile. Then one night his father took the family out to the square.  As they walked around marveling at the sights, he saw a crowd gathered a round a man.

He was showing off a giant brown stanigng on its hind legs, muzzled.  The man made the bear “talk” and dance  Everyone laughed.  But that night Dimitri couldn’t get the sight of the bear out of his mind.  He imagined that he was the bear–muzzled, not wanting to dance.

The next day he told his father that he felt bad for the bear. (more…)

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SOUNDTRACK: LANG LANG-Tiny Desk (Home) Concert #11 (April 17, 2020).

Lang Lang is a superstar pianist whom I have never heard of.  But I agree with the blurb that it’s neat to see a fantastic pianist playing at home.  He seems relaxed and loose.  And the camera angle allows us to see his fingers (and his whole swaying body) pretty clearly.

Here’s something unique: a chance to eavesdrop on the superstar pianist Lang Lang at home.

The 37-year-old pianist, who typically plays sold-out shows to thousands, says he’s taking his recent solitary time to learn new repertoire at home in Shanghai, China. And home is where he thinks we should all be.

He opens with Chopin’s calming “Nocturne No. 20 in C-sharp minor.”  I loved watching him slowly and deliberately play that last note.  It seems like he holds his finger above it for minutes, but it fits in perfectly.

Lang Lang’s latest passion is Bach – specifically the Goldberg Variations, a 75-minute-long cycle of immense complexity grounded in the composer’s durable beauty. Lang Lang offers the “18th and 19th variations,” pieces that in turn represent the strength of logic and the joy of the dance. It’s music, Lang Lang says, that “always brings me to play in another level of artistic thinking.”

These pieces are just magical.  Even if I don;t know them well, I can tell pretty immediately that they are Bach.  Lang Lang’s fluidity is wonderful, as is the way his whole body seems to be absorbing the music as he plays.

[READ: April 11, 2020]: Carnet de Voyage

From March 5 thru May 14, 2004 Craig Thompson was on an international book tour celebrating the success of his (fantastic) book Blankets.

This journal was his visual diary (no cameras were used, only his memory) of his trip.  His editors thought it would be interesting for him to document his trip (and it is).

He flies into Paris then a 2 hour plane trip to Lyon.  He draws pictures of where he has been and the people he has met (and some of their fascinating stories).  There’s some wonderful sketches of rooftops from hotel windows.

He does interviews for radio and magazines. He laughs that one of the photos shoots was in the streets of Paris, where he is all dressed up.  But really he’s a county bumpkin from Wisconsin. The drawing of himself as a glamorous guy and his bumpkin alter ego together is pretty hilarious.

On March 15 he left for Marrakesh, Morocco and this exotic location rally sets the stage for most of his artwork and what is sort of the only “plot” in the book.

He had also just broken up with his girlfriend which weighs on his mind quite a lot on the tour. (more…)

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SOUNDTRACK: Y LA BAMBA-Tiny Desk Concert #893 (September 20, 2019).

It used to be that no one was invited back to play a Tiny Desk Concert.  The rules have been relaxed somewhat as of late (I would have thought that maybe they’d wait until 1000 shows).

The blurb explains why they (she) was invited back though.

Luz Elena Mendoza has such a far-reaching creative spirit that it’s almost impossible to confine her to a single musical identity. Which is why she’s one of just a handful of artists who’ve been invited back to the Tiny Desk to offer a revised musical vision.

Y La Bamba was on back in 2011 and they played a more acoustic style of music–accordion, percussion, guitar and lot of singers.  For this show, lead Bamba, Luz Elena Mendoza looks quite different.  In 2011, her hair was black and long, here it is silver and short–the neck tattoo is the same, though.

When she was here last with the band Y La Bamba, it was a vocal-heavy, folk outfit. The band’s sound has always been about vocals and her music has become even more so over the years.

Back in May, Y La Bamba played Non-Comm and Mendoza was pretty confrontational.  She is less so here, allowing the music to speak for her.

And the music is quite different.  It’s almost all in Spanish this time.  There’s a second guitarist (Ryan Oxford), a bass (Zachary Teran), and a drummer (Miguel Jimenez-Cruz).  She also has two backing singers, Julia Mendiolea who also plays keyboard and Isabeau Waia’u Walker.

I knew that Y La Bamba was the project of Mendoza, but i didn’t realize she did everything herself:

Y La Bamba’s albums are meticulously crafted sonic treats with her vocals layered like a choir made with a single voice. But in our offices, she called on vocalist Isabeau Waia’u Walker to replicate their distinct sound.

There’s a great variety of styles in this Tiny Desk.

“Paloma Negra” (“Black Pigeon”) [also played at Non-Comm] benefits from the voices of the entire band in a high-energy mediation on rhythm and voice.

It’s got a groovy, funky bassline and some cool echoing guitars.  There’s a tension in the verses that is totally relieved in the super catchy chorus.

This song segues into “Rios Sueltos” which is a kind of rap–but sung.  It’s bouncy and catchy but I sense is probably not a happy song, despite the catchy “hey ey ey heys” in the middle.

The song ends with a rumbling from Mendoza’s guitar as she starts up “Bruja de Brujas” [also played at Non-Comm].

There is a bruja energy and spirit to their performance, and not in the negative connotation that is the Spanish word for “witch.” In Luz Elena Mendoza’s hands a brujeria spirit is all about conjuring the kind of magic that took place on this video.

The song opens with a cool bass line and a somewhat menacing feel.  It starts quietly, but when all three vocalists sing together it’s really lovely.

At the end of the song she sinks to the ground to play with her effects as the song fades out with trippy sounds.   She jokes, “And aliens came down.:

Then she realizes, “we forgot to do one more.  Sorry the aliens did come down… and took my brain.”

The final song is the fantastic “Cuatro Crazy” [also played at Non-Comm].  It is sweet and pretty and has echoing guitars and a vocal style not unlike a Cocteau Twins song.  It even ends with a lot of “dah dah dah dahs.”

I really enjoy their music quite a lot and should really look into their stuff more.

[READ: October 6, 2019] “Abandoning a Cat”

This essay is, indeed, about abandoning a cat.  The cat story has a happy ending (although another one might not).  But mostly the essay is about how mundane events trigger memories of our parents.

He says that when he was little, his family had an older cat and they needed to get rid of it.  “Getting rid of cats back then was a common occurrence, not something that anyone would criticize you for.  The idea of neutering cats never crossed anyone’s mind.”

His father took the bike and he sat on the back with the cat in a box.  They rode to the beach about 2 km from their house, put the box down, and headed back.

When they returned home, they opened the door and there was the cat “greeting us with a friendly meow, its tail standing tall.”  His father’s expression of blank amazement “changed to one of admiration and, finally, to an expression of relief.  And the cat went back to being out pet.” (more…)

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SOUNDTRACK: BOB SNIDER-“Old Nova Scotian” (Moose: The Compilation, 1991).

Back in the 1990s, it was common to buy a compilation or soundtrack or even a band’s album based on one song.  Only to then find that you didn’t really like anything else on it.

Maybe that single sounded like nothing else on the album.  Maybe the movie was almost entirely one genre, but they had that one song that you liked over the credits.  Or maybe the compilation was for something but a song you really wanted was on it, too.

With streaming music that need not happen anymore.  Except in this case.

I bought this compilation, used, recently exclusively for one song, Rheostatics’ “Woodstuck.”  It’s a goofy song and this is the only place you can get the studio version.  The actual compilation was not well documented, so I didn’t know what the other bands on it might sound like.  It turns out to be a compilation for Ontario based Moose Records which specialized in Rock, Folk, World & Country.  They put out another compilation in 1992 and that’s all I can find out about them.

This song by Bob Snider is another story song.  This one is about a Old Nova Scotian far from the ocean.  He’s a derelict dead on his feet.

This song is a slow ballad–it feels like an old Irish ballad especially with this accordion.  Although a whipping violin solo would perk the song up.

Snider has been playing music since the 1980s.  Moxy Fruvous covered his amusing song “Ash Hash,” which makes sense as it didn’t sound like one of their songs.

[READ: July 1, 2019] “Fishing with a Straight Hook”

The July/August issue of The Walrus is the Summer Reading issue. This year’s issue had two short stories, a memoir, three poems and a fifteen year reflection about a novel as special features.

Jackson talks about one summer when she went fishing on Lac Catherine, a small lake in Quebec.  She and her husband rent a chalet fora  a month each summer.

Their son’s friend Roberto, an experienced fisherman, came to visit and she hoped to learn a thing or two from him.  Roberto had many sage things to say about fishing (as fishermen are wont).  Roberto’s secret: “put the worm where the fish wants to eat and if you’re lucky you will catch a fish.” (more…)

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SOUNDTRACK: ENSEMBLE SIGNAL PLAYS JONNY GREENWOOD-Tiny Desk Concert #850 (May 20, 2019).

The blurb for this piece is actually by Jonny Greenwood (instead of an NPR staffer), so I’ll keep the whole thing.

I’ve watched a lot of Tiny Desk concerts over the years. It’s good to see musicians in the raw, away from stage lighting and backing tracks — as if they’ve just stopped by an office to play over a lunch break, with desk-bound employees watching on. The performances should expose flaws, but instead they tend to expose musicians being casually brilliant, like the members of Ensemble Signal, who certainly play these pieces beautifully.

Unfortunately, I was nowhere near Washington, D.C. for this recording. And I still find it bizarre that you can put a musical idea on paper and have it reproduced at such a distance — and with such added life. We’re used to sounds and images being shared as exact clones of one another, but the pleasure in using ink and paper is that the music is interpreted rather than just reproduced. All those years of practice, in all those players, distilled into 15 minutes of music. It’s a big privilege — and a continuing motivation to write the best I can.

The first piece, Three Miniatures from Water, was originally a sketch for an Australian Chamber Orchestra commission in 2014. I thought it’d be easier to approach writing for full orchestra by starting with a piano miniature and scaling it up. In fact, only some of the material made it to the final commission, and I always felt the original three miniatures hung together well enough as its own piece of music.

I’m a big admirer of composer Olivier Messiaen, and one of the musical scales he favored was the octatonic mode. It’s a lot like an Indian rag in that it’s a rigid set of notes, yet isn’t necessarily in a major or minor key. There are hundreds of rags in Indian music, but I was surprised to find that Messiaen’s octatonic scale isn’t one of them. Despite this, it sits nicely over a drone — and that was the starting point for this music. That and the glorious sound of the tanpura, the drone instrument that underpins everything in classical Indian music.

The piece is called Water, after the Philip Larkin poem with the same title, and was especially inspired by the final stanza:

And I should raise in the east
A glass of water
Where any-angled light
Would congregate endlessly.

The second piece, called 88 (No. 1), is also in one of Messiaen’s modes in the first half, before becoming a celebration of the mechanical nature of the piano. The performer has to put fingerless gloves on halfway through, partly in tribute to the immortal Glenn Gould, and partly because the technique requires some painful hammering. But don’t let that fool you into thinking the music is dark or angry: It is — or is meant to be — joyful.

“Three Miniatures from Water” features lots of drones from the strings ( Lauren Radnofsky on cello and Greg Chudzik on bowed upright bass).  There’s also the excellent tanpura drones from Paul Coleman and Elena Moon Park. The violin from Olivia De Prato plays a slow melody that seems to appear and disappear while the piano plays a somewhat spooky pizzicato melody.

“88 (No. 1)” is a solo piano piece by Lisa Moore (who played piano on the other piece as well).  It does seem to use all 88 keys in various fashion.  Indeed, she does put on fingerless gloves a little more than half way through the piece where she does play quite possibly every note (I can’t imagine what that looks like on paper).  For the last 45 seconds, she seems to be banging relentlessly (but tunefully–are there chords?) all over the keys.

Neither one of these pieces seem particularly joyful to me–they both seem kind of scary, but I am fascinated at the kind of compositions the guy from Radiohead makes.

[READ: June 1, 2019] “Then Again”

This is an excerpt from The Other Half, a manuscript that Ciment is writing to rebut her own 1996 memoir, Half a Life.

In that original memoir, she wrote about meeting her husband.  At the time she was seventeen and he was forty-seven (and her art teacher).

She asks what should she call him now.  “My husband”?  Yes, if it is the story is about the man she married and lived with for forty-five years.  But what if it is about an older man preying on a teenager.  Should she call him “The artist” or “the art teacher.”

She says he didn’t know what to expect when he kissed her for the first time–she could have screamed or slapped him.  But she had fantasized about him for the last six months, so that was not going to happen. (more…)

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SOUNDTRACK: Y&T-“Mean Streak” (1983).

In the early 1980s Y&T had a couple of albums that made it onto my radar.   This one, Mean Streak, had this song which I liked enough. It’s got some cool riffs and Dave Meniketti’s raspy but distinctive voice.

I remember liking this song, even though I really had no idea what was going on in the lyrics.  The chorus where everyone sings “mean streak” behind his lyrics was certainly the catchy selling point.   But this is hard rock more than metal and is not really my thing.

I may have bought this album, but I know I have the follow up In Rock We Trust, which was more poppy (and they were more pretty).  I had forgotten all about “Lipstick and Leather” yet another cheesy pop metal song about, well, lipstick and leather.

People who were fans of Y&T (like Posehn) were die-hards, but even listening now I see why I never really got into them, even if I liked them for a bit.  Maybe it was a California thing.

[READ: January 2019] Forever Nerdy

S. got this for me for Christmas after we saw Posehn on a late night show and he talked about his nerdy obsessions, including Rush.  It seemed like an obvious fit.  And it totally was.

Posehn is a few years older than me, but if he had lived in my town we would have totally been friends (except I would have never talked to him because he was older).  Anyhow, we had more or less the same obsessions and the same nerdy outlook.  Although I was never really picked on like he was so perhaps I was a little cooler than he was.  Although I never smoked or drank when I was in high school so maybe he was cooler than me.

Things to know about before reading this–Posehn is a vulgar dude–there’s not much kid friendly is in this book.  Also this book isn’t really an autobiography exactly. I mean it is in that he wrote it and its about him, but if you were dying to find out fascinating stories about his crazy life, this book isn’t really it. I t’s more about the things he was obsessed with–in true nerdy fandom.

Although, Brian, what nerd doesn’t have an index in his own book? (more…)

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

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

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

People from Earth opened.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

This is, indeed a great show.

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

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

And what better sums up Bruce than this:

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

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

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

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