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Archive for the ‘Bob Dylan’ Category

Kris Bertin–“The Game” [The 2020 Short Story Advent Calendar #15] (2013)

Posted in Bob Dylan, Books about writers, Canadian Content, Chanukah Album, Christmas, Coronavirus, Dave Grohl, Dice, Drinking, Funny (strange), Games (Non Video), Greg Kurstin, Hingston & Olsen, Quarantine, Sex, Short Story, Supernatural, Tarot, The Hanukkah Sessions, The Short Story Advent Calendar on December 15, 2020| Leave a Comment »

SOUNDTRACK: KURSTIN x GROHL-“Rainy Day Women 12 & 35″ (The Hanukkah Sessions: Night Five” December 14, 2020).

   Producer Greg Kurstin (who I have not heard of) and Dave Grohl (who I have) decided that, rather than releasing a Christmas song this year, they would record eight covers of songs by Jewish artists and release them one each night for Hanukkah.

“With all the mishegas of 2020, @GregKurstin and I were kibbitzing about how we could make Hannukah extra-special this year. Festival of Lights?! How about a festival of tasty LICKS! So hold on to your tuchuses… We’ve got something special coming for your shayna punims. L’chaim!!”

The fifth night is a classic rock staple: a singalong from Bob Dylan.

So now everybody must get stoned (not in the Law of Moses sense) as we put some blood on this track: Rainy Day Women 12&35 by the immortal Bob Dylan!

Anyone who has listened to classic rock radio has heard this song a hundred times.  And if you heard it when you were younger, it made you chuckle because he says “everybody must get stoned.”  I have often wondered if there is any more depth to the song than that.  Also, why it is called “Rainy Day Women 12 & 35.”

Kurstin plays the piano on this one–a bouncy barroom piano rag.  He also adds harmonica.

Grohl plays drums and sings.  These drums are about the simplest thing that he’s ever played–a two beat snare and bass drum. He doesn’t try to sing like Dylan (that would be too obvious), although he definitely sings more like Dylan than himself.

It’s a straightforward song and both of them have a lot of fun with it.

[READ: December 15, 2020] “The Game”

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

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

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

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

It’s December 15. Kris Bertin, author of Use Your Imagination!, would like to buy a vowel. [Click the link to the H&O extras for the story].

This story is about allowing fate to control your life.

The narrator and his friend Brad both work at a University.  They are both published authors although neither has written anything since they got the jobs.

Brad believed in “all that shit”–he got his fortune told,  did Tarot, I Ching, Ouija–he did it all. He believes that he is fucked on a cosmic level.  He is trying to bring his wife and child to where he is working, but he can’t afford to do so yet.

The narrator tries to convince him it’s all junk and says he’ll do a fortune for him right now.  But Brad knows that having any of that divination shit in your house is bad luck.  However, he does have a can of dice.

The dice are a large assortment of letters–from multiple Boggle games.  Brad tells him you roll the dice and you read what it says–not all the letters obviously, just what speaks to you.

The first roll produced

GOGET ON THE ROOF QIUCK

So they did.  The roof was beautiful–a lovely night, a lovely view, and a flat surface to keep rolling. (more…)

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Anne Serre–“In the Cards” (Harper’s, October 2019)

Posted in Anne Serre, Bob Dylan, Bob Weir, Books about writers, Grateful Dead, Harper's, Huh?, Mark Hutchinson, Mikaela Davis, Mistigri, NPR/PRI/PBS, Tarot, Tiny Desk Concert, Translation, Virginia Woolf, Wolf Bros. on March 28, 2020| Leave a Comment »

SOUNDTRACK: BOB WEIR AND WOLF BROS.-Tiny Desk Concert #953 (March 2, 2020).

Bob Weir is, obviously, a founding member of Grateful Dead.

This set goes on much longer than a typical one (and they’re not rappers or R&B singers).  I got a kick out of this comment in the blurb:

When I produce a Tiny Desk Concert, one of my most important jobs is to make sure they run on time and that the performance sticks to our set time limit (roughly 15-minutes). So when Bob Weir and Wolf Bros achieved lift-off during a pre-show sound-check, it was my unthinkable responsibility to tell the guy who practically invented the jam band to… stop jamming.

It also fell to me to keep looking at my watch during the performance, even as I realized that my favorite “Dark Star” jams alone lasted well beyond our fifteen-minute performance window.

I’ve never been a big fan of the Dead (despite how much I enjoy jam bands).  Their music is a bit too slow for my tastes.  But in the right mood (like a rainy Sunday), they can be right on.

These songs are slow and expansive and allow for a lot of jamming.  There’s not a lot of opportunity for jamming here as this is just a trio, but Weir is very comfortable stretching things out.

The trio make an interesting look with drummer Jay Lane in a tie-dyed shirt and upright bassist Don Was in all black.  Weir stand between them in a gray T-shirt and his gray hair.

The first song

“Only a River,” from Weir’s 2016 solo album Blue Mountain, feels like a memorial to Jerry Garcia, with a reference to the Shenandoah River, a body of water Garcia famously made reference to on the song, “A Shenandoah Lullaby.” Weir turns the chorus into a mantra and seems to evoke the spirit of his fallen bandmate.

This song references the melody of “Shenandoah” pretty directly n the middle, but the “hey hey hey” let’s you know that this is a very different song.

Before the second song, he says they just got clearance to play it.  I didn’t realize that “When I Paint My Masterpiece” was a Bob Dylan song, but I guess maybe I should have.

And what would a Grateful Dead-related performance be without a Bob Dylan song? The intimacy of the Tiny Desk turns Weir into a sage Master Storyteller during a version of “When I Paint My Masterpiece” with its reference to Botticelli and a lonely Roman hotel room.

The set really comes to life when special guest, Mikaela Davis comes out to play harp.

The harp is always a magical-sounding instrument and amid the quietness of this trio, it really shines.  Davis basically takes the lead on “Bird Song” including bending strings (I’ve never seen a harpist do that before).

Midway through the song, Weir waves his hand and allows Davis to take a solo while Weir puts down his acoustic guitar.

When Weir switches to electric guitar midway during “Bird Song,” I looked at my watch because I knew we were in for some time travel. And the band didn’t disappoint as the rhythmic interplay between Weir and Davis showed off his singular rhythm guitar style, honed from more than thirty years of playing alongside one the most idiosyncratic lead guitarists in modern music.

Davis does some more note bending in her solo, which is so interesting.  When Weir joins in, their music melds really beautifully.

They jam the song out for 8 minutes and as the music fades Bob says, I’m pretty sure we’re over our time limit.

He says they were slated for 20 minutes and they’re at forty now (sadly we only get to see 26 minutes).  Someone shouts “keep going” and they do one more.

They play “Ripple” Grateful Dead’s fifty-year-old sing-along from their album American Beauty.  It demonstrates

the song’s celebration of hope and optimism, found in the spirit of all of the band’s music. Bob Weir continues to evoke that spirit every time he picks up a guitar; and as we all sang along at the end, we evoked that spirit too: “Let there be songs, to fill the air.”

I suppose it’s never too late to start enjoying a band, right?

[READ: March 25, 2020] “In the Cards”

This is exactly the kind of story I don’t like.  It seemed to go nowhere and in an oblique fashion. Plus the narrator was really hard to relate to.

The point of the story seems to be the last line: “You’re crazy when you’re a good writer.”

It starts with a discussion of playing cards and moves on to tarot cards.  Her friend Michel gave her a deck and she felt ill at ease just reading the directions.  But what most disturbed her was the image of The Fool.

The narrator says she is unfamiliar with playing cards and yet later she says when she was a child they played Mistigri which is a card game.  So go figure.  (more…)

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Mike Maihack–Cleopatra in Space: Book Five: Fallen Empires (2019)

Posted in Adventure, Bob Dylan, Cats, Children's Books, Death, Death Cab For Cutie, Egyptology, Funny (ha ha), Jeff Buckley, John Mulaney, Mike Maihack, Miley Cyrus, Nirvana, NPR/PRI/PBS, Stephen Colbert, Threats, Time Travel, Tiny Desk Concert, Tiny Desk Contest, Unfinished series, WXPN 88.5 FM--Philadelphia, PA on January 31, 2020| Leave a Comment »

SOUNDTRACK: J.S. ONDARA-Tiny Desk Concert #937 (January 24, 2020).

WXPN has been playing J.S. Ondara quite a lot since his album came out.  And while the DJs would often give some details about his life story, he gives a bit more here.

J.S. Ondara’s journey to the Tiny Desk is a fascinating one. From his home in Nairobi, he listened on his sister’s radio to American artists, including Nirvana, Jeff Buckley, Death Cab For Cutie and, most importantly, Bob Dylan. He wanted to be a folk singer, so he moved to Minnesota, Dylan’s home state.

In between songs he narrates his life in a wonderfully comically understated style.

Ondara told us his story. “I remember, at one point, someone told me about this contest that you guys do called ‘the Tiny Desk Contest.’ And I was, at the time, desperately trying to be a folk singer. And I’m not quite. I’m not a big fan of contests, but I like NPR. So I figured I’d give it a shot. And I’d just written that song, ‘Lebanon.’ So I made a video of me playing that song, and I submitted it. And I suppose that things didn’t go quite in my favor. So I figured I’d find a bit of a roundabout way to get here, which involved making a record and touring it relentlessly and stalking Bob [Boilen] all around South by Southwest. (I actually didn’t do that part.) I was thinking about it. And now I’m here. The journey would have been a lot shorter had I just won the bloody contest. It’s on me, not you, I suppose, I should have written a better song.  But in the very wise words of Miley Cyrus, ‘it’s not about how fast you get there, it’s about the climb.’  I can’t stop quoting that song, it’s one of those words even when I don’t want to.”

“Lebanon” is a slow ballad with Ondara’s unique singing style (S. and I genuinely didn’t know if Ondara was a man or a woman upon hearing his song “Saying Goodbye” because his voice is so multivaried.  I really like the passion of the lyrics and how it is countered with the slowness of the music.

In the water, fire
I’ll go wherever you go
In the valley, in the canyon
I’ll go wherever you go
Hey, love, I’m ready now
Can’t you see this riot
Inside of my veins
Hey love, I’m overcome
By desire
How must I wait?
Up next is “Days of Insanity” with this fascinating lyric

There is a bear at the airport, waiting on a plane
There is a cow at the funeral, bidding farewell
There is a goat at the terminal, boarding the C-train
There is a horse at the hospital, dancing with the hare
Somebody call the doctor, from the university
Somebody call upon the witch and the wizardry
Somebody call the rabbi, the pastor and the sheikh
Coz we are coming on the days of insanity
The days of insanity.

In talking about this song he says it is such a rich time to be a folk singer in America.  He wrote the song while making the record.  He was watching videos of kittens and puppies as he does every night before bed and the video suggested watching Stephen Colbert with John Mulaney.  Mulaney took a trip to Japan and described things in America as being like seeing a horse loose in a hospital.  It’s like something no one’s ever seen before.  Ondara encourages us to watch the clip and he is right–it is hilarious!

“Saying Goodbye” is the song that’s been getting the airplay.  It’s passionate and powerful and when he sings in the higher register it really is otherworldly.

This live version is quite a revelation.  His delivery is different–much more slow and deliberate.  But he can still hit that glorious high notes..

Amazingly, Tales of America was nominated for a Grammy award for Best Americana Album (not bad for a guy from Kenya).  Sadly it didn’t win.

[READ: June 2, 2018] Cleopatra in Space Book Five

It took Maihack seventeen months to make this book!  He says that sixteen of those months were spent growing the bear on his author picture.

This story is action-packed with some fascinating twists and turns.  Consequently, seventeen months is a long time to go between books.  Fortunately, Maihack’s quality of illustration and storytelling has maintained its high standards.

The book opens with a flashback to the moment when Cleo first disappeared from Gozi while they were having target practice (back in book 1).

The actual story has followed Cleo on her adventures.  But now we see what happened to Gozi.  He was attacked by … someone … and imprisoned.  Gozi believes that whatever happened to Cleo–it was her choice not to return and help him.

I have to admit I was more than a little confused as to just what happened next, [Gozi explains things later on].  IN the montage of events, there’s a spaceship and lots of cats (I suspect that if I had read the other books more recently this would be more clear).  In whatever happened, Gozi is badly burned and the pain never goes away.  He was wrapped in bandages but that didn’t really help at all.  Then we see exactly what happened to make Gozi tun into Octavian and to agree to use the Lion’s plasma to carry out the ruin of the galaxy. (more…)

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Nick Hornby–“The Entertainers” (New Yorker, April 23 & 30, 2001)

Posted in Beastie Boys, Bob Dylan, Essays, Houndog, Los Lobos, Los Super Seven, Marvin Gaye, Money Mark, New Yorker, Nick Hornby, Pete Seeger, Phish, Sheryl Crow, The Byrds, The Latin Playboys on September 18, 2019| Leave a Comment »

april2301SOUNDTRACK: LOS LOBOS-“Guantanamera” (1978).

220px-Los_Lobos_del_Este_de_Los_Angeles_coverI never listened to much Los Lobos, although their recent tiny Desk Concert opened my eyes to the,

This review from Hornby made me want to check out some of their music.  I’m not interested in their rock n’ roll songs, but I am quite interested in their Mexicali and more diverse songs.

Their debut album was mostly traditional songs.  I hadn’t heard their take on “Guantanamera,” a song that is in my consciousness, although I’m not sure from where, exactly.  I know the Pete Seeger version, but that can’t be the one I am most familiar with, right?

The Los Lobos version is, surprisingly, slower and a but less catchy that the version I am familiar with.  Although I imagine their version is more accurate.  Los Lobos has three lead singers.  It’s interesting that the guy with the fewest lead vocal songs, bassist Conrad Lozano is the lead singer here.

[READ: September 10, 2019] “The Entertainers”

This essay is about Los Lobos and the art of box sets.

The turn of the century was a pretty big time for the box set.  I have too many of them myself.

You get home busting with anticipation, and sit down to listen to the first half-dozen songs of a beloved artist’s recording career, and to read the weighty accompanying essay and then, somewhere along the line, a vague disappointment kicks in.  You become irritated that your favorite song is represented only by a demo or a live recording or an alternate mix that omits the horns.  Pretty soon, you find that you’re playing only the last few tracks on the second CD–tracks that you probably already own.  A few weeks later, you realize, guiltily, that the fourth CD has not yet been removed from the box and that it never will be.

This is a bit excessive in my experience, but the general tenor is spot on. (more…)

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Nick Hornby–“It’s a Mann’s World” (New Yorker, June 12, 2000)

Posted in 'til Tuesday, Aimee Mann, Bob Dylan, Duke Ellington, Elvis Costello, Essays, Fiona Apple, Greil Marcus, Hanson, Magnolia, Marvin Gaye, Mojo, New Yorker, Nick Hornby, Paul Thomas Anderson, Sergei Prokofiev, Sheryl Crow, The Beatles, Tori Amos, Wu-Tang Clan on June 21, 2019| Leave a Comment »

SOUNDTRACK: AIMEE MANN-Bachelor No. 2 or, the Last Remains of the Dodo (2000).

Aimee Mann writes really pretty (often sad) songs.  From seeing her play live (in person and on video), she is very upright when she plays.  And I feel like this uprightness comes forth in her music.  She is very serious–not that she isn’t funny, because she can be–but that she is serious about songcraft.  Her songs, even when they are catchy, are very proper songs.  I don’t know if that makes sense exactly.

It also means to me that most of her music sounds similar.  She has a style of songwriting and she is very good at it.  For me, it means that a full album can start to sound the same, but a few songs are fantastic.

“How Am I Different” opens up with a super catchy melody and a guitar hook that repeats throughout.  “Nothing is Good Enough” is a bit slower and less bouncy.  But “Red Vines” brings that bounce back with a super catchy chorus (and backing vocalists to punch it up).  The piano coda is a nice touch.

“The Fall of the World’s Own Optimist” starts slow but adds a cool guitar riff as the bridge leads to a catchy, full chorus.  “Satellite” slows things down as if to cleanse the palette for “Deathly.”

Now that I’ve met you
Would you object to
Never seeing each other again

The chorus is low key but the verses have a great melody.  It stretches out to nearly six minutes, growing bigger as it goes with a soaring guitar solo and better and better rhymes.

“Ghost World” has some wonderful soaring choruses while “Calling It Quits” changes the tone of the album a bit with a slightly more jazzy feel.  It also adds a bunch of sounds that are unexpected from Mann–horns, snapping drums and in the middle of the song, the sound of a record slowing down before the song resumes again.  It’s probably the most fun song on the record–unexpected for a song with this title.

“Driving Sideways” seems like it will be a slower downer of a song but once again, she pulls out a super catchy intro to the chorus (with harmonies) as the rest of the chorus trails on in Mann’s solo voice as we hang on every word.  It ends with a tidy, pretty guitar solo.

“Just Like Anyone” is a quiet guitar song, just over a minute long.  It’s a surprisingly complete song and shows that not only can she pack a lot into less than 90 seconds, she should do it more often.

“Susan” is a surprisingly boppy little number that bounces along nicely on the two-syllable rhythm of the title character.  “It Takes All Kinds” slows things down with piano and gentle guitars and “You Do” ends the album with Mann showing off a bit of her falsetto.

This is in no way a party album, it’s more of a quiet autumn day album.  And it’s quite lovely.  Thanks, Nick, for reminding me of it.

[READ: May 20, 2019] “It’s a Mann’s World”

Nick Hornby wrote High Fidelity and became something of a musical expert because of it.  As such, he wrote a half a dozen or so musical review sections for the New Yorker.

This was his first and, as one might guess from the title, it is about Aimee Mann.

He begins by talking about the British magazine Mojo and how every month they ask a musician what he or she is listening to.  He says that many musicians of a Certain Age seem to have abandoned rock and roll and are listening more to jazz or classical.  They are doing this “for reasons I can only guess as: Prokofiev! Ellington! Take that Hanson and Wu-Tang Clans fans! ”

These performers seem to suggest that pop music is dead.  Much in the way that people say fiction is dead.  Meanwhile good, talented musicians continue to make albums that people continue to listen to and good talented authors continue to write novels that people continue to read. (more…)

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Nick Hornby–“Alternative Earle” (New Yorker, July 10, 2000)

Posted in Aerosmith, Bob Dylan, Essays, Gram Parsons, Kevin Devine, Marah, Matthew Sweet, New Yorker, Nick Hornby, R.E.M., Son Volt, Stacey Earle, Stephen King, Steve Earle, The Beatles, The Jayhawks, The Rolling Stones, Tom Petty, Wilco on June 18, 2019| Leave a Comment »

SOUNDTRACK: STEVE EARLE-Transcendental Blues (2000).

I’ve never really liked Steve Earle’s music.  For some reason I always thought of him as a kind of outlaw country.  But the review of this album from Hornby made me want to check it out.  And while there are certainly country music trappings, this is a solid fun rock record.

Earle’s voice isn’t what I thought it was (or wasn’t was it is now)–it’s much softer and much higher than I imagined.  So what’s going on on this record?

“Transcendental Blues” has a great distorted guitar riff running opposite the throbbing bassline.  Earle’s voice sounds like a cross between Dylan, Petty and (anachronistically) Kevin Devine.  “Everyone’s in Love with You” sounds like a rocking R.E.M. song with a very 90s vocal style and even a reverse guitar solo.

“Another Town” sounds like a song that I’ve heard a million times (but I haven’t).  It’s a simple pop song with a crazy catchy melody and it’s barely 2 minutes long.  “I Can’t Wait” slows things down a bit with a real poppy Matthew Sweet-vibe.

“The Boy Who Never Cried” is a dirgey song, slow and story telling.  It has strings with a slightly Middle Eastern feel.

“Steve’s Last Ramble” is a stompin’ song with full on harmonica introduction (which makes it seem even more Dylan).  “The Galway Girl” is a mandolin-based stomper while “Lonelier Than This” is a quiet, sad song.

“Wherever I Go” is only two minutes ling and has a country feel, even though it’s not that different from the other songs.  The guitar solo is totally early Beatles, but the lyrics are pure country:

I could drink corn whisky ’til my brain goes soft
I could run this highway ’til my wheels come off

The harmonica returns on “When I Fall” the start of a trifecta of country songs.  His drawl really comes out here, possibly because of his duet partner (Steve Earle’s sister, Stacey Earle, a country singer in her own right).  It’s a shame this song is so long as it’s my least favorite.

“I Don’t Want to Lose You Yet” is a simple country pop song (the twang remains).  Although “Halo ‘Round the Moon” is a softer song with a gentle shuffle beat.  “Until the Day I Die” continues with the old school country/bluegrass style with a big ol’ banjo intro, close harmonies, and a fiddle solo.  You can imagine a jug solo, hand clappin’ and a hoedown in a live version.

“All of My Life” rocks out again, with some loud bass and distorted guitar, which I desperately needed after those last few songs.

The disc ends with “Over Yonder (Jonathan’ Song).”  From songfacts:

This song is about the execution-by injection of Jonathan Nobles, which Steve Earle witnessed. The alt-country star told Mojo magazine May 2008 about it: “I don’t recommend it. I befriended Jonathan for several months beforehand. Then I saw the execution and later brought his remains to England for burial according to his wishes. But the execution was incredibly toxic to me. It’s hard. You can’t believe it’s really happening. I remember afterwards I thought, ‘did I black out and miss it? I let Jonathan down.’ Then the blank filled in… it was the shock… I realized exactly what I’d seen. I can’t see myself doing it again. I’ve absorbed enough death. And I still work hard against the death penalty.”

So I’m still on the fence about Earle, but I did enjoy this record much more than I thought I would.  Thanks, Nick.

[READ: June 15, 2019] “Alternative Earle”

I am aware of Steve Earle and I really like his lyrics.  I don’t love his music though–too much country in the alt-country.  Although Hornby describes it as Nashville folk and rock n roll hybrid.  But man, his lyrics are great.  I wish I liked him a bit more especially after reading this review.

Hornby is a passionate music lover and anything he likes sounds great when he describes it.

The album in question is Transcendental Blues (and in the photo Earle’s beard is much shorter than it is now).  As of 2000, Earle has been married and divorced six times (to five women–4 and 6 were the same person). In 1994 he was imprisoned for possessing narcotics.  This sentence ending years of heroin addiction. (more…)

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Jonathan Lethem–“The Ecstasy of Influence: a plagiarism” (Harper’s, February 2007)

Posted in Bob Dylan, Brian Eno, Charlie Parker, David Byrne, David Foster Wallace, Dizzy Gillespie, Essays, Free Speech, Harold Bloom, Harper's, Heinz von Lichberg, Jonathan Lethem, Lewis Hyde, Mary Shelley, Michael Maar, Muddy Waters, Museum of Modern Art, Nazis, Negativland, Robert Boynton, Robert Johnson, Robert The, Saul Bellow, Siva Vaidhyanathan, Son House, The Beatles, The Monkees, The Simpsons, Thomas Jefferson, Vladimir Nabokov, William Gibson on May 4, 2019| Leave a Comment »

SOUNDTRACK: DAVID BYRNE AND BRIAN ENO-My LIfe in the Bush of Ghosts [Remix website] (1981, 2006).

I’m stealing the bulk of these comments from a Pitchfork review of the album reissue because I have never actually listened to this album which I’ve known about for decades.

When Eno and Byrne released My Life in 1981 it seemed like a quirky side project.  But now, Nonesuch has repackaged it as a near-masterpiece, a milestone of sampled music, and a peace summit in the continual West-meets-rest struggle. So we’re supposed to see Bush of Ghosts as a tick on the timeline of important transgressive records.  Nonesuch made an interesting move that could help Bush of Ghosts make history all over again: they launched a “remix” website, at www.bush-of-ghosts.com, where any of us can download multitracked versions of two songs, load them up in the editor of our choice, and under a Creative Commons license, do whatever we want with them.

The only thing is, at the time this review was written, the site was not up yet.  And as I write this in 2019, there’s nothing on the site except for a post from 2014 about Virgin Media and Sky TV.  Alas.

[READ: May 1, 2019] “The Ecstasy of Influence”

Back in the day I was a vocal proponent of free speech.  It was my Cause and I was very Concerned about it.

It’s now some thirty years later and I don’t really have a Cause anymore.  It’s not that I care less about free speech, but I do care less about the Idea of free speech.

Had I read this article in the 1990s, I would have framed it.  Right now I’m just very glad that people are still keeping the torch alive.

Lethem begins this essay about plagiarism by discussing a novel in which a travelling salesman is blown away by the beauty of a preteen girl named Lolita  That story, Lolita, was written in 1916 by Heinz von Lichberg.  Lichberg later became a journalist for the Nazis and his fiction faded into history.  But Vladimir Nabokov lived in Berlin until 1937.  Was this unconscious borrowing or was it “higher cribbing.”

The original is evidently not very good and none of the admirable parts of Nabokov’s story are present in the original.

Or Bob Dylan.  He appropriated lines in many of his songs.  He borrowed liberally from films, paintings and books.  Perhaps that is why Dylan has never refused a request for a sample. (more…)

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Terry Pratchett & Stephen Baxter–The Long War (2012) [510 pages; 928 pages total]

Posted in Adventure, Alejandro Escovedo, Alternate Reality, Big Books, Bob Dylan, Death, End of the World, Environmentalism, Evolution, Explorers, Fantasy, MC5, Orphans, Racism, Sci-fi, Science, Stephen Baxter, Supernatural, Terry Pratchett, Tiny Desk Concert, Violence, Warren Zevon on March 31, 2019| Leave a Comment »

SOUNDTRACK: ALEJANDRO ESCOVEDO-Tiny Desk Concert #834 (March 20, 2019).

I feel like I’ve been hearing Alejandro Escovedo’s name for years, and yet I know very little about him.

I assumed he was a kind of folkie guy.  So I was pretty surprised by the loud sound he brought to the Tiny Desk.  And even more surprised to read

The musician, who once opened for the Sex Pistols … seemed to appreciate the difference between being pelted with spit and debris by punk rock fans and being showered with loving appreciation in the NPR Music office.

Escovedo came  in a leather jacket and a large band.  And even though I thought they were loud, apparently they intended to be louder.  They even started the show with “one for the money, two for the show, three to get ready and four Go Alejandro!”

Escovedo and his backing band known as Don Antonio set up behind the Tiny Desk, their first sounds were blistering loud. That’s when we broke the news: We wouldn’t amplify Alejandro’s voice. We got a slightly sullen look from the band; but despite the toned-down volume, they were all still amped up.

A little research into Escovedo, though shows that he has, indeed, played folkie/alt-country music.  But that his sound has evolved over the years.

Escovedo pulled the three-song set from The Crossing, the most recent chapter in his ongoing odyssey and a typically hard-rocking, literate saga about two teenagers looking for their American Dream of rock and roll and beat poetry.

“Teenage Luggage” opens kind of quiet with one guitar and quiet drums, but soon enough a sax and keyboards are added, then comes some bass and the second saxophone and the roaring lead guitar.  As Escovedo sing/speaks his story.  Then comes the catchy chorus:

You think you know me, you’ll never know me you’re just a bigot with a bad guitar.

By the end, everyone is rocking out with mini solos from Perinelli on saxophone and a raucous guitar solo from Gramentieri

The close quarters of the Tiny Desk allows for a kind of backstage insight into the musical and visual interplay between Escovedo and the veteran Italian band Don Antonio [Antonio Gramentieri: vocals, guitar; Denis Valentini: bass; Matteo Monti: drums; Nicola Peruch: keyboard; Gianni Perinelli: tenor sax; Franz Valtieri: baritone sax]. Lead guitarist Antonio Gramentieri is the perfect foil for Escovedo, who adds a heavy dose of edginess to the sound with his power strumming.

“Something Blue” is slow with a dominant organ sound (reminiscent of Bob Dylan).  It sounds like an old-school rock song and his delivery sounds more than a little like Warren Zevon.

He says that “Sonica USA” goes out to Don since Wayne Kramer from the MC5 played on this.  It has a great raw rock feel with Escovedo’s punky vocals and the chanted chorus of “Sonica USA.”  The soloing section is great with the two saxophones playing on top of Gramentier’s wailing solo.

It’s a really fun garage rocking set.

[READ: Summer 2018] The Long War

I found the first book in this series rather compelling–almost surprisingly so given that it’s not a fast-paced book and, to be honest, not a lot happens.

But it was really well written and the things that do happen are compelling and fascinating.  And I couldn’t wait to read more.

In the first book:

A man creates an invention (The Stepper) which allows one to step into a parallel world that is next to ours.  There are a possibly infinite numbers of parallel worlds in each direction (East or West).  The worlds that are closer to ours are almost identical to our Earth (known as Datum Earth).  The further you go, the greater the differences.  But none of them have experienced humanity before Step Day (aside from earlier hominids).

The main character is Joshua Valienté.  Joshua is a natural “Stepper.”  He doesn’t need the device to Step from one word to the next, nor does he feel the nausea and other side effects that most people feel as they travel.  Most of the book follows his exploits.

The Black corporate has a ship with an entity known as Lobsang who claims that he was a human reincarnated as artificial intelligence.  Joshua is sure that Lobsang is a computer, but Lobsang’s human skills are uncanny.  This ship has managed to Step as an entity, meaning everything in the ship can go with them.  Normally you can only bring what you can carry (aside from metal).

The novel more or less is an exploratory one with Joshua and Lobsang Stepping through millions of Earths.  Not a lot happens, but the novel never grows boring.  The interactions between Joshua and Lobsang are often funny.  And the writers have infused the Earths that they stop in with just enough differences to make each stop strangely compelling (this must be Baxter’s hard science leanings).

At the end of the book, the anti-steppers attempt a massive, deadly protest.

(more…)

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Marc Scibilia (Count Basie Theater, Red Bank, NJ, November 14, 2017) [RODRIGO Y GABRIELA]

Posted in Barenaked Ladies, Bob Dylan, Count Basie Theatre, Marc Scibilia, Red Bank, NJ, Rodrigo y Gabriela, Set in New Jersey! on November 14, 2017| Leave a Comment »

[ATTENDED: November 14, 2017] Marc Scibilia

I hadn’t heard of Marc Scibilia before this show.  He did perhaps the most intelligent think I’ve seen an opening folkie act do.  He had a kick drum with his name on it.  He never played the drum, it was just there as a simple advertisement (my name is hard to spell, he explained).

When the show started (exactly on time), he came out on stage, walked up to the keyboard and started playing a song.  He didn’t say what it was, but possibly “Out of Style.”

It was good.  Kinda of dancey, but definitely rocking.  When the song was over he picked up an acoustic guitar and started playing a different song.  As he started playing he stomped on an electronic drum (it wasn’t the kick drum, because he was too far away and the drum head never vibrated–it was just one of those stomp drum things.  And that simple addition really made the folkie songs a lot more rocking.

And then he spoke to us. (more…)

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Kelly Sue DeConnick, David Lopez and Marcio Takara–Captain Marvel: Stay Fly (2015)

Posted in Aliens, Beyonce, Bob Dylan, Captain Marvel, Cats, Christmas, David Lopez, End of the World, Graphic Novel, Huh?, Kelly Sue DeConnick, Marcio Takara, Rats, Santa Claus, Spider-Woman, Superheroes, Tiny Desk Concert, Unfinished series, Violence, Whitney Houston, Wyclef Jean on November 7, 2017| Leave a Comment »

SOUNDTRACK: WYCLEF JEAN-Tiny Desk Concert #668 (November 6, 2017).

Wyclef Jean is a pretty exceptionally famous person.  And it is wonderful just how sweet and funny he is.

He starts his set with two highlights from his latest record, and finishes with a climactic rendition of his signature hit like you’ve never seen or heard.

The Tiny Desk Concert didn’t start out that inspiring me though.  For some reason he is reciting over and overt about bars on the bass.  No idea what that means.  He raps a brief biography that really kicks in when he sings:

“I flipped the language.  I called Trump started speaking Spanish (a Spanish verse).  Trump hung up the phone said I’m still not convinced.  I said you might be convinced when I sing in French.”  It’s all a lead in to the first song “Borrowed Time,” where he sings and plays lead bass.  Interestingly, he is playing a lead bass while Patrick Andriantsialonina also plays bass (throughout this song and each song).  It’s a gentle song, sweet and pretty.

When the song is over he removes his jacket:

I ain’t gonna front.  Everybody that’s watching this live right now knows when I was doing the rehearsal I did not have my jacket on.  I threw it on because I had to get my swagger.  Speaking of swagger, the blurb notes:

A seasoned pro, he walked through our doors greeting and charming anyone within arm’s reach. Once in front of an audience, he was in attack mode, playing every instrument in sight. Clef doled out stories ranging from his upbringing and rise with The Fugees to intimate musical encounters with Whitney Houston and Destiny’s Child. The mentions were properly placed and added substance to the performance, but to me, he pulled what I’d call a “subtle stunt.” Hip-hop is and has always been about youth and freshness, so most elder statesmen of rap aren’t celebrated to the degree of their peers in rock ‘n’ roll and country music. Every now and again it’s necessary to inform the younger generation, who would otherwise never know these epic moments ever happened.

He tells a funny story about his father wanting him to sing church music (he does a funny impersonation of his father “you got to serve gawd or the devil”).  He chose music and was kicked out of the house.  He moved in with his Uncle and that’s where they made The Score.  He’s been doing music since he was in his twenties.  He says people might say:

“Yo Clef is thug, but he kinda geeky.”  It’s the audio side.

He tells a story being 20-something (being a cocky 24-year-old) and making a beat for Destiny’s Child and Beyonce.  And then a hilarious story about Whitney singing flat.  As a producer I think Whitney hit a flat note.  “Oh my god, Wyclef Jean has to tell Ms. Whitney Houston that the note is flat.  As a producer we’re like astronauts we have obligations.” [laughter].  He continues in a whiny voice: “I don’t know if this rocket is gonna fly.”  He continues: “‘Whitney, the note is flat.”  Dead silence.  She goes, ‘Baby, the note is not flat, I just bent the note.’  And that’s the highest level of diva I’ve ever seen in my life.”  But she was right,  she took the note out of pitch and brought it back.”

He plays the keyboards on “Turn Me Good” with vocals from his niece Jazzy Amra.  When he introduces her, she comes and a guy follows to adjust the mic.  As he does, Wyclef comes out to “steady” the guy, it’s quite funny.  Wyclef sings the main chorus: “What we gonna do when we get to Zion?  We gonna make love all night like a Marvin Gaye song.”  {That’s an odd song to duet with your niece].  She has a pretty voice but I don’t like her delivery.

When the song is over he says, “I’m swearing like a monkey, dog, but don’t edit the footage, coz I got to show the kids how the work go.”  He asks for a towel “Is this like a Tiny Desk Towel exclusive?”

Introducing “Gone Till November” he says to his bassist, “Ask me the coolest thing about ‘Gone to November.'”  Patrick asks him and her replies, “Well Patrick, the coolest thing… I did this song because it’s about making runs about selling drugs….  I’m a big fan of Bob Dylan so the lyrics be having triple entendres not just double entendres.  I wanted Bob Dylan to be in the video.  Haters they be shouting ‘Bob Dylan will never show up for your video he doesn’t even show up for his own son’s video.’  But Dylan showed up.  So Mr Dylan if you’re watching we’re going do a rad version of for you coz you’re so cool man.”

Wyclef picks up the guitar.  After a buzzy guitar solo, the song settles down to some pretty chords and Wyclef singing.  This is apparently his big hit, but I don;t know it.  After a few verses and choruses, he slows it down: I got to talk to some of these kids, I’m 20 years older than most of them.  He does a slow rap followed by a really fast verse.  Manny Laine on drums does a great job so slowing down the beat and then bringing it back up during Wyclef’s (really long) solo.  It has a very Hendrix feel.  After playing for a minute or so, he puts the guitar behind his back and plays fairly well.  Then he plays with his teeth.  And finally picks up an NPR mug and uses it as a slide.  It’s all in good fun and the crowd eats it up.

It’s a really fun set, and Wyclef makes a great impression.

[READ: April 19, 2017] Captain Marvel: Stay Fly

I mentioned that Captain Marvel is confusing.  And even after I think I’ve straightened it out it’s still confusing.

This series is Volume VIII.  It contains 3 books: Captain Marvel, Volume 1: Higher, Further, Faster, More; Captain Marvel, Volume 2: Stay Fly; Captain Marvel, Volume 3: Alis Volat Propriis.

Prior to this, DeConnick wrote another Captain Marvel series Volume VII.  No idea why they are different volumes.  But there are also three books in this series Captain Marvel, Volume 1: In Pursuit of Flight; Captain Marvel, Volume 2: Down; Captain Marvel, Volume 3: Captain Marvel and the Carol Corps and, according to Goodreads at least, included in Volume VII is Avengers: The Enemy Within which seems to come before Carol Corp.  For some reason, very few libraries seem to carry this particularly series.

And then, just to throw more confusion into the works, there is a new series (the Captain’s logo looks different and it is not written by DeConnick) called Captain Marvel 2016.  There are five books in it with two being out so far: Captain Marvel, Vol. 1: Rise of Alpha Flight and Captain Marvel, Vol. 2: Civil War II.

Phew.

So, with all that background, it took me two years to track down Book 2 in the Volume VIII saga.  And I was really surprised at how silly it was.  Not necessarily in a good way, either.  I mean, sure I love the Marvel humor and I love that they play around with some interesting ideas, but I feel like Carol Danvers is a pretty great hero and she is spoken of in very high regard.  So why then does this book prominently feature cats, rats, rock stars and Santa Claus?  It seems to really play down her mad skills.

I was also a little put off by the artwork.  I really don’t care for Marcio Takara’s style in the first few chapters.  In part because it looks so very different from the cover art and Lopez’ art. I actually had a hard time following what was going on (which may have been the two-year gap, but I don’t think so). (more…)

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