Archive for the ‘Adrian Belew’ Category

[ATTENDED: September 4, 2021] King Crimson

This show was originally scheduled at the State Theatre in New Brunswick, which would have been an amazing place to see King Crimson.  The sound would have been incredible, and it’s only 30 minutes from my house.  When this was first rescheduled, it appeared that they’d be playing at the Count Basie in Red Bank, which would have been fine–great sound, but a further drive.  Then it wound up at PNC Bank Center, which has less great sound, but is a nice venue and is very easy to get to.

A few days before the show I heard an ad on the radio that said this was King Crimson’s final tour. I hadn’t heard that before.  And maybe if they had originally played in 2020, they might have done another stretch into 2021…who knows.  Anyhow, an article recently said that yes, this was probably the final tour, but they didn’t want to make a big deal about it.  So it’s possible that this will be my final King Crimson show (five times in eight years is pretty good–especially for King Crimson).

The last few times King Crimson has played two 90 minute sets.  But this time they had the Zappa Band opening for them.  Which meant that they’d do only one set.  Sadly, for the same amount of money.  But oh well.  What this meant was that they did a 90 minute set that almost felt like a greatest hits (of the last few tours) package.

I decided to splurge somewhat for this show–not paying for a VIP, sorry Robert–but I was reasonably close and more or less in the middle.

The back row has remained consistent throughout these tours: Tony Levin (bass, Stick, keyboards this time, too); Mel Collins (saxes, flutes); Jakko Jakszyk (guitar, vocals), and of course, Robert Fripp (guitar and more).  From this vantage point I could see everyone very clearly, which was ideal.  A very obnoxious couple sat down next to me but there were, thankfully, two empty seats on the other side of me so I slid over and was able to sit between the heads of the two people in front of me for an unobstructed view.  The obnoxious couple left mid set…huh. (more…)

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[ATTENDED: September 4, 2021] The Zappa Band

When this tour was announced, I was pretty pleased to see that The Zappa Band was opening for King Crimson.  I’ve been a fan of Frank Zappa’s music for years, but I never saw him while he was a live and I’ve never seen any of the various posthumuous offerings that have come around.

I’ve often thought about going to see Dweezil play his dad’s music but I haven’t (looking at the setlist, there’s quite a lot of good stuff there).

But this was an “official” Zappa project, and better yet they were going to be playing where I was planning to be.  Although this lineup isn’t exactly chock full of great Zappa names, everyone in the group has a connection of some merit.

The Zappa Band’s lineup features Zappa alumni Ray White (lead vocals, guitar), Mike Keneally (guitar, keys, vocals), Scott Thunes (bassist) and Robert Martin (keyboards, sax, vocals), and ZPZ alums Jamie Kime (guitar) and ZAPPA archivist Joe “Vaultmeister” Travers (drums, vocals).

I recognized Ray White’s voice immediately (he’s been on 20 plus records).  The other voices were actually quite close approximations to the original.  But really the most amazing thing was hearing  these really complicated and fast pieces done live (and perfectly).

I was pretty delighted to hear “Zomby Woof” a nonsensical song that I’ve always liked.  And I would have been thoroughly disappointed if they hadn’t played “Peaches en Regalia.”  It was somewhere during this song t hat I realized that none of the people on stage was Dweezil Zappa.  I was fairly certain this was his band, but it clearly was not.

I have listened to most of Zappa’s albums many times, (but he has about 1,000 releases).  So I was surprised when I didn’t recognize some songs.  I was even more surprised to find that “I Ain’t Got No Heart” was on Freak Out, and album I particularly like. (more…)

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 dancingSOUNDTRACK: deLILLOS-“Forelsket” (1987).

delilloKarl Ove mentions many bands in this book, but the deLillos are the only Norwegian band that he plays.  They sing in Norwegian and play sprightly, jangly guitar pop–they would fit in very well with some of the lighter alt bands from the late 80s and early 90s.

I have no idea what they’re singing about (well, the title translates to “love” so I guess I know what they are singing about.

The singer has a high, delicate voice and there’s some interesting harmonies.  I really like the way the song transitions from verse to chorus with the picked guitar notes–very catchy.

It comes from their second album, Før var det morsomt med sne  (Before it was fun in the snow), which along with their first was quite popular and was reissued with a bonus disc in the 90s.  Having said that I see that Amazon has one copy of the disc and no album cover listed.  Worse yet, I can’t find many other songs online (Spotify lists the album, but I can’t get it to play).

Sorry, deLillos (even searching for you gives us more Don DeLillo than you guys).

[READ: June 24, 2014] My Struggle Book Four

struggle4I started including the British edition page numbers because at my work we received both editions of the book, and I received the British one first so I grabbed it and started reading.  I noticed the page numbers were quite different (the British book is taller and the print is quite bigger, although this doesn’t explain why the previous books have fewer pages).

I had been interested in the differences between editions from the get go.  I had enjoyed the American editions, but I enjoyed reading this British edition more (bigger print?).  But when I noticed on one of the pages that the word “realise” was spelled as I typed it, it made me wonder if the American edition changed that to the American spelling.  [Actually, I see that Don Bartlett lives in Virginia, so perhaps he translates it into American first].  While I wasn’t about to go into a deep inspection of the topic, when I saw the American edition on a shelf at work, I had to do a little comparison.

And what I found out was that even though Don Bartlett is the (amazing) translator for both editions, someone (perhaps Bartlett himself?) is translating the American into British (or vice versa).  I looked at a couple of pages and noticed these changes from British to American:

  • Pack it in, now = Give it up, now
  • roll-up = rollie [about hand rolled cigarettes]
  • looked daggers at = gave her a dirty look
  • a complete prat = completely useless
  • is that possible? = really?
  • to cook and wash up = cooking and doing the dishes
  • I had got = I’d gotten
  • had penned = had written
  • and yes, realised = realized.

Other than select phrases, every word is exactly the same.  So somebody goes through the books and changes them to British english idioms and spellings.  That’s fascinating.

I also see that this is the first book I had not read an excerpt from first.  Not that it would have made any difference as to whether I read the fourth one.  I couldn’t wait to get my hands on it.

So book four is set in Håfjord, a town in Northern Norway near Finnsnes (a five hour flight away–okay I had no idea Norway was so big!).  Karl Ove is 18 and has decided to become a grade school teacher there for one year.  The tax breaks are great if you teach, and he plans to teach and write his masterpieces and then get out.  He has no interest in teaching, but the town is small (most grades are 3-7 students), so he figures it can’t be too hard.

As in most of Karl Ove’s books, the stories jump around and flash back and do not stay all in this one time, but it is largely set in this locale.

My first thought was that I have never read a story with as much semen (both nocturnal emission and premature ejaculation) in my life.  It is a strange take away from the book, but there it is.  Karl Ove is 18 and really wants to have sex for the first time.  About 3/4 of the way through the book he reveals that he never masturbated (it just never occurred to him, apparently, and at 18 he’s too old to start–what!?).  As such, he seems to have wet dreams every night.  And every time he gets near a woman, he has an orgasm too soon.  He is horny all the time–it’s a bit disconcerting.

And since I mentioned that, I don’t know if Karl Ove’s life is typical of Norway, but I am shocked by the number of women who take their clothes off around him (he may have never had sex, but he was about to on at least a half-dozen occasions).  And he says that all through school (from around age 13 and up) it was common place for the boys to lift up the girls’ shirts and kiss and or fondle their breasts.  It is mind-boggling to me.  And the 16 year olds all seem to be having sex all the time–this may be skewed from Karl Ove’s perspective, but that’s what I now believe happens in Norway.

But while sex is the main theme of the book–sex, sex sex, there is more to it.

Karl Ove’s parents have split up and his father has started drinking in earnest.  The dad has remarried and has just had a baby.  Incidentally, I was also shocked to read that Karl Ove’s father, who is an abusive stodgy old man who is cranky and mean and abusive and all the stuff that we read about in the other volumes was only 43 at the time that Karl Ove was 18.  So the old man who I pictured as a gray-haired curmudgeon in this book is actually younger than me.  Great.

In Håfjord, Karl Ove is teaching kids who range from age 13 to 16.  It’s disconcerting to read about him thinking lustful thoughts about his students, until he reminds us that for most of the students, he is only 2 years older than them.  I am pleased to say that he behaves himself (except in his mind) with all of the students.  There’s even a really interesting flash forward to eleven years later when he runs into two of them again.

He proves to be a pretty decent teacher it seems.  The kids mostly like him (the girls all think he is hot) and he is young and tries to make it fun (he himself hated school and everything about it).  He even seems to help out an awkward boy (although that is never resolved).  We see him teaching, trying to interact with the kids and generally being a pretty good guy.

Until the booze comes out.

For in addition to semen, this book is chock full of alcohol.  Before graduating from gymnas (high school), Karl Ove basically stopped caring about anything.  He spent most of his time drunk.  It is astonishing the amount of drinking he does–it’s practically like an Amish Rumspringa how crazy he goes.  But even in this retrospective look, he talks about how much he likes it, how it loosens him up and makes him less nervous.

But really he just spends most of his time drunk, hungover or sick. He even got into the hash scene for a while.  He was living with his mom at the time and she was appalled at the way he acted–especially when he threw a party which trashed their house.   She even kicked him out for a time.

He seemed to be over the drink in Håfjord, but it turns out that there’s precious little else to do except drink up there, especially when it grows dark for most of the day.  So there is much drinking–he only misses class once or twice because of it but he comes very close a lot.

The irony that he is appalled at his father’s drinking, while drinking so much himself, is apparently lost on him.

The other main preoccupation with Karl Ove is music.   He talks a lot about his great taste in music (he reminds me of me–a little insufferable).  Back when he was in gymnas, he spent a lot of time discussing his favorite bands and favorite songs.  He got a job (at 16) writing reviews for a local paper (holy crap, jealous!) and then later gets a job writing a column for another paper.  For the previous book I listed a lot of the bands he mentioned, and I wish I had written them down for this one.  U2 features prominently (this is 1987, so I’m guessing Joshua Tree), but also Talking Heads, a Scottish post-punk/new wave band The Associates and their album Sulk which he describes as “an utterly insane LP.”  he and his brother really like The Church and Simple Minds (before they got so commercial).  He also has a whole thread in which he makes connections with albums:

Briano Eno, for example, started in Roxy Music, released solo records, produced U2 and worked with Jon Hassell, David Byrne, David Bowie, and Robert Fripp; Robert Fripp played on Bowie’s Scary Monsters; Bowie produced Lou Reed, who came from Velvet Underground, and Iggy Pop, who came from the Stooges, while David Byrne was in Talking Heads, who on their best record, Remain in Light, used the guitarist Adrian Belew, who in turn played on several of Bowie’s records and was his favorite live guitarist for years. (64).

He also specifically raves about “The Great Curve” from the Talking Heads album, and of course, he raves about the first Led Zeppelin album as well.

Music is a huge part of his life (and he dresses accordingly too).  It’s unclear whether the kids think this is awesome or not, but he may be a bit too much for some of the locals.  The locals are mostly fishermen (which makes sense), and Karl Ove is a bit intimidated that he is so wimpy compared to them–one of the women even teases him about his tiny arms.

But his main focus is writing.  He writes a few shorts stories (to my knowledge he has never published any of them).  We see some excerpts and they seem fine–he fancies himself Hemingway.  But he also mentions a bunch of Norwegian authors (I love when he does that).  Sadly again, not too many of them have been translated into English.  [I really hope that some mega fan creates a database of all of the bands and authors he mentions].  He also talks briefly about his first novel which alludes to his time teaching here.  I happened to read a small summary of said novel (Out of the World) and feared that it spoiled what was going to happen.  But, in fact there does appear to be a difference between his fiction and non-fiction.

The book moves very quickly–from party to party, from failed sexual attempt to the next, even from his staying up all night long trying to write.  And most of the time he comes off as kind of a dick–he is also very self-critical, which somehow tempers that dickishness.

As with the other books I cannot figure out exactly why I am so addicted to his writing.  I brought the book home on Thursday night and finished it (all 548 pages of it) Monday night.  This really completes the picture of himself as he moved from childhood to adulthood and really lays the foundation for whatever is to come next.   Early in the book he talks about the books that he loved at that age, books that talk about the move from childhood to adulthood.  And thus, this book becomes something of a bildungsroman as well.  Although whether or not Karl Ove actually grew up at the end of this book will have to wait until volume 5 (which I have to assume is still another year away as there is no information about it online at all!).

For ease of searching, I include: Hafjord, For var det morsomt med sne.


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SOUNDTRACK: CAIFANES-El Silencio (1992).

Caifanes was another of the Rock en Español bands that I bought back in the 1990s.  I bought two of their records, El Silencio and El Nervio del Volcan.  In retrospect I’m not sure why I bought two from Caifanes and only one from Tijuana No! as I find Tijuana No! to be much more satisfying overall.  But El Silencio is a fun album as well.

As with a lot the rock en Español bands, the album starts with a really heavy track.  “Metamorfeame” is a raging, screaming punk blast.  But it’s followed by a Latin-infused mellow second song “Nubes” with a great weird guitar solo.  “Piedra” rocks, and Saul Hernández’ voice soars over the heavy bass work (he was meant for stadium rock).  It also ends with a little mariachi music as a coda.

“Nos Vamos Juntos” showcases some more great guitar work and “No Dejes Que…” practically sounds like the Alarm or some other stadium rock band.  “El Comunicador” is an interesting understated minor key song with interesting production.

The production is by Adrian Belew and you can tell as it seems very much like what I know of Adrian Belew: gleaming and bright and well polished.  And, like Belew himself, the album jumps from style to style.  Depending on your tastes, this is either great or tiring (and sometime both).

Wikipedia tells me that this album is considered one of the most influential albums from the most influential band to come out of Central Mexico.  Well how about that.

[READ: December 16, 2010] Amulet

This book is an extended version of an episode in The Savage Detectives.  InDetectives, Auxilio Lacouture has a ten-page story in which she was hiding out in the bathroom of UNAM (Universidad Nacional Autónoma de México) in 1968 during the military takeover (in real life, this is known as the Tlatelolco Masscare).  She hid in the bathroom for thirteen days, reading and writing poetry (Auxilio is the mother of Mexican poetry).

The episode in Detectives was  pretty exciting recollection.  She was in the bathroom when the soldiers broke in.  She could see the tanks outside and she could hear the gunshot.  So she hid with her feet in the air while the soldiers searched the premises.  She promised herself she would not to make a sound until she was discovered. So she read poetry and wrote poetry on the only paper available. (more…)

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