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Archive for the ‘Kevin Hearn’ Category

SOUNDTRACK: RHEOSTATICS-The Horseshoe Tavern, Toronto, ON (December 9, 2017).

Final of three shows for the Horseshoe Tavern’s 70th anniversary celebrations. Kindly recorded and provided by Mark Sloggett and Matt Kositsky. Kevin was playing Massey Hall with Barenaked Ladies but showed up for the encore and played Accordion.  Ensign Broderick opened.

The show opens with a beautiful two shot of Martin-sung songs.  A lovely Stolen Car which starts out quietly and beautifully is followed by a soaring “Northern Wish” which starts and ends quietly but had a nice fast loud section in the middle.

After Clark starts inexplicably singing “Gary Indiana, Gary Indiana,” the band plays a quiet intro to “Michael Jackson.”  There’s some great crazy sounds, I assume from Hugh Marsh, that add an interesting texture to the verses.  The band really fills out the middle with some great soloing from Martin and Hugh and the vocals from Martin and Tim are great too.  The end totally rocks. It’s an awesome version.

It segues into “AC/DC on My Stereo” which is a little sloppy but more fun than other versions.  After a few technical difficulties, there’s two in a row from Tim.  First the mellow “Music is the Message” with great violin from Hugh and then a terrific “Claire.”  DB intros it by asking “How many people have read the novel Whale Music?  Oh not nearly enough, that’s a Christmas order.  Go to your beautiful local library and read it and we’ll talk in like four months.  Deal?”  The sound on this version is crisp and everyone’s instruments sound so clear.

DB: We’ll play longer than usual since its Saturday and no one has to do anything tomorrow.  If you do just give me the number of your boss and Martin will call your boss and pretend he’s you.  Martin: I’ll be up first thing in the morning.  Not hungover.  The Clark and Martin have a pretty darn funny pretend conversation in which Martin quits the company.

This is no a segue into a wonderful “Christopher” that has a terrific Martin and Hugh duo–they try to match each other in sound and scope and it’s just amazing–I would have loved to see that.

Then DB is coming out front to sing “Mountains and the Sea.”  Clark: he’s not Neil Sedaka, he’s not Neil Diamond, uh oh.  Tim: Dave’s fundraising again.  DB: Tim, I put the fun in fundraising.  DB: Anybody got a stool?  Martin: Ah extra casual.  Dave, make sure you’re not flying low.  It’s a lovely quiet version of the song with a fun and funny solo by Hugh.

Clark starts chanting 6-11-11-18.  DB: we’re doing new songs that require counting.  We’re playing them for you tonight because you are elastic and rubbery and forgiving:  Possible names 6-11-11-18 (Tim: that’s way better than 2067), could be called Swipe Right.  Then Martin demonstrates the noise and nonsense that they will be doing for 90 minutes (feedback and slide whistle).

Martin: I’m a temperamental artist.
Clark: I thought you said tempura artist, you work wish sushi.
Martin: I play tantrum rock.
Clark: You’re like Sting, you can go all night long.
Martin: Except mine is just unpleasantness and anger.

This is a set up to Martin’s complicated “Albatross.”  It sounds great and very dramatic.  This is followed by a beautiful acoustic rendition of “Bad Time to Be Poor.”  It winds up being just Tim and Hugh and it’s very pretty.

DB: You’re much more composed than last night’s crowd.  Martin: who were a bunch of louts.  DB: Lout-ish.  Well, one guy was a lout.  And congratulations to the Toronto Football Club for winning the MLS football cup.

Up next is “Supercollider,” with an unusually long and trippy opening from Hugh.  Clark says: “I’d like to dedicate this to my oldest friend on the planet Karen Lindhart and my sister, who are here tonight.  We listened to a lot of music together when we were kids.  Take us into space, Hugh.  A wondrous soaring violin solo ensues before the cool song begins.

DB: Okay, now we’re entering “shank” portion of the concert.  This one features Tim Vesely on … air.  This is an obvious dance party starter, but what the fuck.  Dave starts chanting post-Ptolemaic and when he asks Tim if he;s like to say anything about the Ptolemaic universe, Tim says he wasn’t paying attention.  It’s a wild and somewhat shambolic version of “Legal Age Life.”  But things settle down nicely for Tim’s “Soul Glue: which has some lovely violin as an intro.

They start out a beautiful “California Dreamline” and when it gets to “questionable things like” just before the song takes off, something happens (not sure what) and it crashes to a halt.  Tim says, “that was so fucking close.  I thought the intro was pretty awesome.”  They try to pick it up from where they left off, but it fails.  Martin: Okay lets drop this song, we’ve only played it 14,000 times.  Clark: let’s do a quick palette cleanser.  Which turns out to be a bouncy “Alomar.”  Mid song Martin says “your call will be answered shortly.”  They jump back into “California” and after a few false starts, they play it through with no more hiccups (although a lot of sloppy guitars).  When they get to “All the naked ladies,” Tim interjects, “they’re at Massey Hall tonight.”

DB: This is the birthday of the Horseshoe–70 years ago today.  We (Me, Tim, Dave, and James Gray [of Blue Rodeo]) first played here Halloween in 1982 (or 1983) opening for The Government.  I don’t even know how many years that is.  Audience: “35” DB: “Wow. Thanks… math nerd.”

That kindly story segues into a harsh and rocking version of “Feed Yourself.”  The middle instrumental section where Dave B gets really intense screaming and repeating lyrics is fleshed out even further by some great work from Hugh Marsh.  It’s probably the most intense version of the song I’ve heard.  I wish Martin’s guitar was a little quieter in the mix.  And I wish more than ever that I’d managed to get to see this show.

DB: We have one more song.  Then we’ll go back stage and we’ll have an internal review and you can have an external review.  If you deem it worthy of continuation, perhaps you’ll show some sign of support.  Tim: However if you disapproved of tonight’s show please remain silent.  It would confuse us other otherwise.

Then Tim looks in the audience and asks, “Is that a bumble T-shirt?  Sorry I thought you were promoting your dating website.”

They begin “Shaved Head” and Clark says he wants to play brushes, dammit.  Which he does for the quiet opening.  It’s an amazing song and a great ending to the set.

For the encore, Clark says Kevin is going to come up and play accordion.  Then he sings an a capella (until Tim starts playing the drums) rendition of “My Mind Is On Fire” (“I wanna communicate with you about love… right now” are the whole of the lyrics).

Kevin starts the accordion for a sloppy wild “Who Stole the Kishka” which seems in the wrong key the whole time.  When it’s over: DB: They don’t write any good fucking kisha songs anymore.  Audience guy: “Taking Care of Business.”  DB: “We fucking just took care of business right there.” Audience guy: “There’s something about you guys I really hate.”  DB: “Know what I hate about our audience?  Too many Italians.”

Tim: “Alright, Dim the lights, chill the ham.  Turn the lights way down.  As in off.  Even the wiener roaster, turn that one off.”  And so starts a slow, brooding version of “The Wreck of the Edmund Fitzgerald.”  By the end, the song has gotten huge, including the by-now obligatory “I wish I was back home in Derry” shout outs.

[READ: November 28, 2018] Ambient Comics

I love working in a place where I can see German comics (especially if they are wordless like this one), which I can fully enjoy.

This collection by German artist Nadine Redlich is wonderful.  The introduction by Mahler talks about the urgent question in the study of sequential art: “What lies between the panels” and how this book makes it easy to answer the question.  He says that that which lies between the panels is already within the panels, which explains “why there is so little room in between.”

Each of the pages of this book hosts a six panel cartoon in which literally almost nothing happens. (more…)

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SOUNDTRACKRHEOSTATICS-The Horseshoe Tavern, Toronto (December 10, 2016).

This show is the second of two shows at The Horseshoe Tavern featuring the return of Dave Clark on drums, Hugh Marsh on Violin and Kevin Hearn on Vocals and Keyboards.

After about an hour, there is a ten minute intermission, but this show is about twenty minutes longer overall than the previous night’s.  And the sound quality is 100 times better–nice and full.

The band plays the same five new songs this evening but not all together.  Surprisingly, (a little although I get why it is this way), the set list is pretty similar to the previous night.  The only songs played the first night that were not played the second night were “It’s Easy to Be with You,” “People’s Republic of Dave” and “Self Serve Gas Station.”  The only songs played the second night but not the first were “Palomar” “Halloween Eyes” (!), “Horses” and “Christopher.”

On the download, the intro to “Stolen Car” is actually about 5 minutes of drum machine before the band comes out.  Then Dave Clark plays a bit of an introductory drum solo while I gather the rest of the guys ambled out.  After about 2 minutes of drums, Martin plays the guitar opening to “Stolen Car” and he sounds fantastic singing it.  It’s a really lovely version and Martin hits those high notes with no problem.  When it’s over you hear someone say “never open with a show stopper.”

Bidini says, “More songs about breaking the law.  Although ironically we will not be performing “Breaking the Law” (booo) I guess… never say never, eh?”

Tim sounds great on “King Of The Past” and Kevin does the whole Mister Rogers introduction for “Fan Letter To Michael Jackson” which again sounds different (but only a little) with all of the extra keyboard stuff.  The band is always tight on this song.

Dave apologizes for the TFC, Toronto Football Club, loss.  Was anybody there?  Nobody.  Good. We don’t want any angry football fans here.

Have you said hello to Dave Clark yet?  Dave is playing with a stolen timbale tonight, although he made good.  Way back in the 1980s, Dave stole that drum from Mr McKay’s music class at Martingrove Collegiate.  However, one wintry morning a couple of years ago he enumerated the value of the drum and paid them $500 for it.  “Then I walked home to my old house.  You could have rolled a bowling ball down the roads and not hit a thing.”

I love “P.I.N.” more with each listen.  The four-string guitar sounds great and the band is always having fun.  Whether it’s Kevin’s keyboards floating around or Tim’s interjections midsong, it’s always fun.

Clark is gonna play some brushes for “Mountains And The Sea” which sounds much better at this recording than the previous one.  Mid-song, Dave whispers (that’s Hugh Marsh on the violin).

Then Bidini introduces Martin’s fancy guitar …two necks… two guitars?  Siamese guitar?  Then he notes “a very interesting discussion going on back there.  Are you all discussing my post lounge debut?.”

Martin: Dave’s very exited about the mike… going hand held.
DB: I seized the mike.
Tim: Let’s limit that to one song.
Martin: Seized the mic?  It’s right in front of you.
Kevin: Carpe Mikem [much laughter]
DB: That’s my stage name.

Tim: I think they’re discussing music stands on stage … Lack of commitment?
Martin: Bands that have music stands I want to kill them all… they’re racist….  I don’t know.

They finally start “Northern Wish,” but after a beat Clark says, “Let’s start that again.  I’ll tell you why.  Because I saw a squirrel go by.”  It sounds great and is followed by Tim’s “Palomar” which is dedicated to the dog that’s accompanying someone in here.

They play “saskatchewan” which opens with a long meandering opening, that’s quite lovely.

They take the ten minute break which on the download is primarily synthy jazz, although it doesn’t really seem to be from the club.  When the ycome back Dave says “Our break was good.  We beat up some yuppies in the alley.  Do yuppies till exist?  We are probably yuppies.

DB: Can you see Tim is he lit enough?  No!
Tim: My sister came last night and complained about the light show.  I was in the dark.  I said that’s the way I like it.
Martin:  That’s bass-ial discrimination, Tim’s lightning.

Tim’s “Music Is The Message” also sounds much better in this fuller situation, although it is still primarily piano and Martin’s quiet soloing. When it’s over, someone shouts “Happy Birthday Tim.”

Kevin explains that “Chemical Valley” is from a recording he made with Martin and Hugh last winter, (with Gavin Brown on drums).   Dave says that he and Tim were on a cruise.  There’s lots of Hugh Marsh’s soaring violins.

Kevin says that Martin’s going to sing his song called “The Albatross.”  Martin “The Unlucky Albatross.”

Dave tells a story of Martin working at the Royal Ontario Museum as a young fellow.  Martin says he defleshed an ostrich and a rhinoceros while getting bones for comparative paleontology.  He brought the meat home to eat.
DB: The Tielli’s were famous for their rhinoceros soup.
Martin: The rhino was worse, it was rank, But we got to have a piece of real rhino.
DB: Is it true your dad made grappa with the rhinoceros bones?
Martin: Horn, David, grappa cornuto.
DB: It’s the bands secret.

Kevin: Anyway, Martin’s going to sing his new song.  It’s called, “The Albatross”
Tim: Mr Reality over there.
DB: Fucking talk show host.
Kevin: Happy birthday, Tim and here’s Martin with his new song “The Albatross.”

This version is really good and much more fun, but it still feels more like a solo Martin song than a Rheos song.  But “California Dreamline’ sounds terrific.

Its followed by a 10 minute “Dope Fiends and Boozehounds.” (Three Martin songs in a row).  There’s a beautiful flute-like melody playing throughout the song (Kevin, I assume) and another cool drum solo from Dave Clark.  At he end of the song when it gets to the “dark side of the moon” and the howling starts the sounds get kind of dark and spooky and weird and someone plays the riff for Pink Floyd’s “Money” while some howling goes on.

More banter: “This is the end of our Canadian tour.”  “Did you know it was Tim’s birthday?  He’s 71.”
Tim: That last song really went to the dark side didn’t it?  For a moment, I was on the dark side.”

“Claire” sounds great with Martin playing a wonderful solo and then mid-song it just stops dead.  Tim was saying to bring it down and Martin was saying to bring it up.  Tim says he wanted to hear more of Martin’s guitar.  “It’s your birthday, you can hear all the Martin you want.  I want a guitar solo for my birthday, Martin.  I want some violin on this guitar solo.  Wah wah wah, it’s all about me.  And a little drum solo at the end.

There are cool keyboard twinkles that lend atmosphere to the opening of “Shaved Head.” The song sounds amazing although just before the ending, there’s a pause with much laughing (but Martin doesn’t lose it).  I wonder what happened.

After the encore, Chris Brown comes on to play keys for “Queer.”  After the song, Kevin sings “Waiting For My Man” with the refrain of “Hey Chris Brown what are you doing uptown?  Chris Brown / Uptown.  They start jamming a bit and Dave says, “C’mon, Tim, it’s your birthday, so Tim sings a few lines of “Halloween Eyes.”

After a pause they start playing “Horses,” but Martin says, “Clarkie, just think about the Royal Albert in 1987 and the guy named Tex with the fart gas can and the cowboy hat.
Clark:  He didn’t even work there, he just took it on himself.  He was like a vigilante fart gas man.
Martin: What do you mean he didn’t work there?
DB: You were very disturbed by Tex and his fart gas canister.
Martin: I’m disturbed that fart gas in a can even exists, Dave.
Kevin: Yeah, Dave.
Martin: That’s just weird in itself.  Stop your song that they wanna hear.
Kevin: Yes, let’stalk about this.
after some discussion
Clark: I’ve got a giant can of Beano in the back.
Martin: What’s Beano for?
Clark: It’s for starting songs, lets do one.

“Horses” rocks.  Midway through the song he starts singing “Smoke on the Water” but no one really seems to play along with him.
DB: I’m still in that Dope Fiends Black Hole.
Martin: That Pink Floyd black hole?
Kevin: There’s a cream for that.

Clark sing “Super Controller” which sounds much bigger and more fun with those “ba ba bas.”

There’s another encore break and they come back for “Legal Age Life” which was performed acoustic in the crowd and is thus silent till the ending part.  The recording doesn’t really follow them and you can hear people talking at one point someone even says, “that is them, I thought it was a bunch of other people.”  Then you can hear the end of the song.

Finally, they’re back up on stage and Martin says, “somebody get me a shot, the bar’s closing.”  This leads to an awesome version of “Christopher” to end the night.

It’s a fantastic show and confirms that they are back and better than they have been in years.  Next time I see that they are playing I need to haul myself up to Toronto to watch them.

[READ: January 28, 2018] “One, Two, Three and Four Rabbits”

This was a story published posthumously and was translated by Ezra E. Fitz.

I pretty much never knew what the heck was going on.

It starts with

I. The Future…

From where is the future related?

That’s all of Part I.

Then

II.  The Past (more…)

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 may162SOUNDTRACKRHEOSTATICS-The Horseshoe Tavern, Toronto (December 9, 2016).

First of two shows at The Horseshoe Tavern featuring the return of Dave Clark on Drums. Featuring Hugh Marsh on Violin and Kevin Hearn on Vocals and Keyboards.

I’m not sure how many shows the band played since the previous show in April.  This show was eight months later and the improvement in Martin’ on stage behavior is remarkable.  He seems calm and comfortable.  He hits his notes and (almost) doesn’t forget any lyrics.  Hugh Marsh is on violin.

This is a really remarkable show.

It’s also the introduction of five new songs!

The recording sound is quiet and a little flat, so you really don’t get a good exposure to the new songs which don;t sound that great in this setting.

They start the show confidently with “Stolen Car” and Martin sounds great.  Tim says, we don’t have any setlists (no sure if that’s bragging or complaining).  It is followed by “King of the Past” with some soaring violins from Hugh.

“Claire” feels quiet, but the whole show does, like it’s missing a low end or something.  After the song, Tim says, “That’s it for the hits, sorry.”

But Dave counters, “Here come the near misses” and they launch into “P.I.N.”  Followed by a song from The Story of Harmelodia (Don;t worry it ends well) “It’s Easy To Be With You.”  They both sound poppy and great.

Dave mentions the “wintertime seasonal shenanigans” as Kevin starts playing samples of Mister Rogers: “Sandwiches.  I like to talk to you.  You’re very special to me.  Even if it were raining I’d like it with you.”  This is the lead in to “Michael Jackson” which has a lot of fun keyboard sounds on the verses.  The song instrumentation sounds very different, even if music hasn’t changed.

Then come the five new songs:

Music Is The Message (Tim Vesely) 4:45  This is a slow Tim song.  It is heavy on piano and,in fact, feels like the other guys aren’t really part of it (I assume the recorded version will sound bigger).

Before Dave’s song, Martin says:

“Remember… eye contact with the first three rows. Make love to their faces.”
Dave: “I don’t know if i can do that with all of those people.”
Martin: “You can a little bit.”
Dave: “I have my eye on someone special, Martin.”
Kevin: “You’re a man of great stamina.”

Mountains And The Sea (Dave Bidini) 5:05  This song has a sing-song quality with a kind of farty keyboards (a recording issue no doubt).  But once again, heavy on the piano and rather mellow.  There’s a kind of orchestral middle section that’s quite unlike a Dave song (there’s even soaring vocals).

Dave Clark: “Martin,  I’m not going to cheer because of those miserable people on deck.”
Martin: “The boys of the crew.”
Kevin: “Why don’t you like the boys of the crew?”
Dave: “They’re so cruel.”
Martin: “They kill stuff for fun.”
This is a lead in to The Albatross (Martin Tielli) 5:35 which Martin explains is pretty directly from a [Charles] Baudelaire poem called “The Unlucky Albatross.”   It’s a very Martin piece, quite theatrical.  It’s about the boys beating to death the unlucky albatross.  The middle section is a very theatrical waltz with muzzy keyboards and a plucked violin.

At the end, Martin says: “That was in 16/11.”  I’m not sure if he means the tempo or the year.

Someone shouts, “When are you releasing a new album?”
Bidnini: “It’s complicated.”
Martin: “We gotta get out of our contract with Sire Records, first.”  [much laughter]
Tim: “Forty more years don’t worry about it.”

Kevin’s gonna lead us in this next song, Chemical Valley (Kevin Hearn) 5:27.  It’s a very Kevin slow song (and quite long ).  Again lots of keys and limited guitar (sounds like maybe Martin is soloing trough).

Bidini: “Dave Clark on the drumset tonight.”
Someone in the audience shouts: “I love you, Dave.”
Bidini: “I love you too, ma’am.”
Tim: “Other Dave.”
Clark: “Wow, Tim is a tough crowd.”
Super Controller (Dave Clark) 4:55 has a big “ba da da” verse.

Then back to the older stuff with a great “California Dreamline.”  Martin sounds terrific.  And they joke about “spooning in the dry sand.”  Bidini: “We were into spooning like way before it was popular.”  Martin: “Before there was a word for it.”  Clark: “They tried knifing, they tried forking.”  Bidini: “You guys ever whisk?  That was dangerous.  We learned how to whisk in Vancouver.”

“Legal Age Life At Variety Store” has a wild wah wah solo from Hugh Marsh, it also has part of “Uncle Henry” and a song with lyrics “We’re digging a hole on a military trail” which I can’t place.

“Queer” sounds great (with excellent backing vocals) and has a reading by Kevin dad of “The Laughing Heart” by Charles Bukowski.  Kevin takes a little vamp through “I’m Waiting For My Man” before the song ends properly.

“Dope Fiends and Boozehounds” is wild with some cool keys floating over the top and then an effects-filled drum (and keyboard?) solo and then an “Alomar” type solo before the howls and sirens bring the song to an end.”

The pages says “Shaved Head” but there is no “Shaved Head,” just a long encore break.

They return with a walloping “Peoples Republic Of Dave” (“You ready for G sharp?”).  That was Martin’s request.
Kevin: “Was it from before you joined the band?”
Martin: “It was as I joined the band.”
Dave B:  “It was before I joined the band …weird.”

Martin sounds great on “Saskatchewan” and “Northern Wish.”

And they do come out for a second encore.  Clark says, “I’m gonna play brushed on this one.”
Martin: “We are Ratt.  This is called “Round and Round”

They start “Self Serve Gas Station,” with Martin messing up and joking (!) “Sometimes its gotta start right.”  He even throws in a jokey line: “What went wrong with Bilbo, is he dumb?”

In addition to Martin sounding fantastic, Clark is remarkably restrained.  back in the day he was t he wild and checked id of the band, making jokes, reciting poetry.   In this show he made one or two comments but was otherwise just an amazing drummer.

Knowing that they sound this good now means that I absolutely must see them again when they play next time.

[READ: June 16, 2016] “A Life of Adventure and Delight”

I found this story to be a little confusing.  The action all made enough sense, but there was something that felt…off about it.

As the story opens, Gautama is shoved into a police van with a bunch of other men.  It’s the first time he was arrested for calling a prostitute.  He was 24 and a student at NYU.

He was from Gwalior and knew he would have to get married one day, so he wanted to have as much sex as possible.  Perversely, he though that any woman who would have sex before marriage was depraved and foul.

Gautama had hired many prostitutes although his favorite thing was the negotiation (the actual sex was so immoral it was hard for him to enjoy it).

He was released the next day and made to do community service. (more…)

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SOUNDTRACK: RHEOSTATICS-Starlight Social Club, Waterloo, ON (April 24, 2016). 

After reuniting for the AGO shows back in 2015, Rheostatics decided to make a proper go of it again.  This included yet another show at Massey Hall (this time with Martin’s voice working).  In order to prep for that show, they first played this show

Warm Up show prior to April 29 2016 Massey Hall show. First club show since March 29 2007 at The Horseshoe Tavern. The Band consisted of Dave Bidini, Don Kerr, Martin Tielli, and Tim Vesely. With Hugh Marsh on Violin and Kevin Hearn on Keyboards/vocals. Trent Severn guested on Fan Letter To Michael Jackson and Making Progress. Norman Blake from Teenage Fanclub was in attendance at this show.

This is a great show with everyone sounding in good form.  Although I love Hugh Marsh and think he is amazing, his violin does tend to take front and center for a lot of this material.  Same with Kevin Hearn’s piano.  They are both essential, but they sometimes feel like more than the other guys (especially he soaring solo of “Stolen Car”).

As the show starts, Dave Bidini begins the banter: Great to be in Kitchener, Waterloo… you’ve changed.  The first show we ever did as Rheostatics was in the hotel across the way.  We slept in the carpark and couldn’t escape Alexanian Carpet (which they talked about back in 2007).  Here’s a bunch of songs.  Hope you like them.

“King of the Past” seems subdued but lovely, with Hugh Marsh’s soaring violin.  It’s followed by “California Dreamline” which opens with soaring guitars from Martin.

It’s followed by “Claire” which sounds great.

Dave says it will take a while for our patter to come back.  Then there’s some new country played on the monitors and Dave suggests that a new direction for them.

“P.I.N.”  sounds bright and positive although I think Kevin’s keys are too much in the chorus.  Martin even sneaks in a “Dirty Boulevard” line.

Dave notes that they were a band before drinking out of a water bottle was cliched–to give you an idea of the age of the band.  We predated grunge.  Actually we invented grunge and then decided it was a bad idea but we left it lying around and someone found it.

The first of Dave’s songs comes in with “Mumbletypeg” it is of course poppy and fun.

Then Kevin recites some of the story of Dot and Bug before starting “Monkeybird.”  Martin makes some wonderful crazy sounds and by the end Kevin starts a chant: I say banana you saw worms.

“It’s Easy To Be With You” is also very keyboardy, with a solo from Hugh or Martin, I’m not sure.

“Song Of The Garden” almost feels entirely like Kevin and Hugh.  It’s lovely.

Kevin starts a sample from Mister Rogers which can only mean “Fan Letter To Michael Jackson.”  Dave says they’ll play this for Prince and for Michael.  Trent Severn (Lindsay Schindler, Dayna Manning and Emm Gryner, in the flesh) sing the “it feels good to be alive” part.  The entire ending (with Martin joining in) is spectacular.

There’s a pretty one-minute guitar segue into “Making Progress” with a very cool long solo by Marsh.

They play a great version of “Self Serve Gas Station” at the end of which Martin says, “and then that guys escaped out of the bathroom window, he’s climbing down the side of the building.”

“Queer” has a lengthy piano solo from Kevin but there’s no “find me another home” outro.  “Dope Fiends and Boozehounds” has a big drum (and much percussion) solo by Don Kerr.  The song ends with some great howling while Martin’s guitar soars.  Martin even brings up the old jokes about someone misunderstanding Don Kerr’s name:  In heavy accent: “Why do you call yourself ‘dont care.'”

“Shaved Head” sounds great as they head into the first encore break.

When they come back out Dave says “I’m working on this solo bass project if you’ll bear with me…..no?  your loss.”

Kevin asks “how many of you are going to Massey Hall?  Don’t share the setlist online so it’s a surprise for everyone.”  It will be next Friday at Massey hall with Amelia Curran

After many requests, they play a slow and powerful “Palomar.”  It’s followed by a pretty version of “Stolen Car” with what I think is a drum machine.  When it’s done, Martin says, “Let’s all smoke cigarettes!”  Dave tells everyone, “Enjoy Game of Thrones.”

There’s a five-minute encore break.  After 4 minutes you can hear country music playing as if it over, but the boys come back out.  Dave: “Now I’m gonna miss Game of Thrones for sure!”

They return with Kevin’s “Yellow Days Under A Lemon Sun” and then a great version of “Saskatchewan” (even if Martin forgets some of the words).

They end with “Legal Age Life At Variety Store.”  The special guest on guitar: “Ladies and gentlemen, Martin Telli’s son… they’ve never met before.  It’s beautiful.”  I don;t know who it is but he plays a solid rockabilly guitar solo followed by a ripping piano solo from Kevin.  It’s all over after 5 minutes.

With a total show time of just over 2 hours, it’s a nice welcome back.

[READ: January 11, 2018]  A Legacy of Canadian Art from Kelowna Collections

I find the subject of Canadian Art to be rather fascinating (possibly because it’s more digestible than the expansive European or American histories).  This stems from my appreciation of The Group of Seven.  They loom (probably unfairly) large in the Canadian Art world.  So it’s interesting to see how the fit in with the rest of the history of Canadian Art.

This book is the publication from an art exhibit that from July 1 to October 15 2017 at the Kelowna Art Gallery.  What I found especially interesting about this show was that the pieces came from eight probate collections in Kelowna (as well as the gallery’s permanent collection).  But basically eight art collectors in Kelowna allowed the public to see their private collections.   That’s fascinating to me and I have no idea how common that is.

The book opens with thanks and kind words from the director and the curator with a longer essay from Roger Boulet.  He talks about the history of art and artists in Canada as well as collectors and their beneficence to artists and the public at large.

The book is divided up into eras. (more…)

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SOUNDTRACK: BIDINIBAND-The Carleton, Halifax, NS (February 13, 2015).

This is the most current solo show from anybody on the RheostaticsLive webpage.

Bidiniband’s third album came out in 2014 and this show chooses from it pretty heavily.

The show starts (Dave sounds either like he has a bit of a cold or he’s just worn out) with Dave saying “We’re going to start with a song about the cold, because it is.  Fucking snow, eh  Wow.”  “The Grey Wave” has great chord changes in the chorus.  It is a slow folkie song about cold and snow.  I like that he whispers “let’s go” before the buzzy but quiet solo.  The chorus comes out of that fairly rocking (a least for this set).

Dave continues, “I have some news.  Last night I was offered cocaine in the bathroom of the Alehouse.”  (Don, on drums, whispers, “in exchange for what?”).  Dave: “I think the guy just wanted to be my friend.  He was a bit of an asshole.  Cocaine is the one drug I think where when people offer it to you and when you say no, they apologize for having assumed you wanted any.”

Someone else notes: “I like that we’re the rock band from Toronto and we’re the ones shocked by all the drugs everyone is doing.  We were in BC and we were shocked at the big jug of MDMA being passed around.”

“Everyday Superstar” is a rocking, swinging song.  I love that the chorus is “I’m an animal out of control” but it’s kind of slow and mellow and at one point he says “its true.” And there’s this lyric: “When it’s hot, I’m gonna be Bon Scott you be Lita Ford.”  At the end of the song, someone asks, “Does everybody in the house know what bass face is?  You never know when Haddon is going to a picture of you with that face.”  Dave tells a story that Haddon Strong had a subscription to a magazine and it was addressed to Hardon Strong.

Introducing “My First Rock Concert” he says, “this is a song about music.  I bet you think it’s ‘Proud Mary’ but it’s not.  That was done last night.”  He sings it kind of whispering/spoken.   In the middle, Paul plays the riff to “Brown Eyed Girl” while Dave is singing “you’re either a mouse or Steven Page.”

“Take A Wild Ride” is s short song that segues at the same fast tempo into “The List” which is, again, almost spoken.  He throws in some other people who have made the list.  Jian Ghomeshi and Joel Plaskett (he was in Thrush Hermit) and at the end he says, “only kidding about Joel.”

“Big Men Go Fast On The Water” is a great-sounding song–in this version, the guitar riffs between verses sound like Boston.  They played this song last night at “Stolen from a Hockey Card” at the Spats Theater.  Dave was disappointed there were no spats there.  He says, “If I’ve over pattering, just tell me.”

We wrote this song “Bad Really Bad” about the Toronto Maple Leafs.  Three chords and the truth.

“In The Rock Hall” is about the Rock n Roll Hall of Fame in Cleveland from a poem written by Paul Quarrington  Once again he almost whispers, “C’mon Halifax, let’s rock.”   About “Ladies of Montreal,” he says, “I didn’t think there were enough songs in indie rock well, elderly indie rock, independent seniors, about beautiful women… boobs, you know.  It came in a dream.  I had to write it.”  Dave says it is sexist although I don’t exactly know what he’s saying with the French words.

Getting ready to play “The Motherland Part 1,” he asks, “Jerry you brought your flute, did you?  Oh fuck’s sake.  It’s okay. I think I told you last night but we were both pretty hammered.”  “The Fatherland” is “a heavy metal political song…political metal… politometal.”  It totally rocks and at the end Dave says “I don’t understand, the dancing girl left and we’re playing our most uptempo tunes.”  Before they complete the trilogy with “The Motherland Part 2” someone in the band asks, have you got the cocaine?–its pure MDMA.  Don rehashes the story about him throwing up at a party in the closet because of hot knives.  The middle of Part 2 really rocks.

“Last Of The Dead Wrong Things” is quieter for sure but the chorus and backing vocals are great.  Where there’s usually a drum solo there’s a kind of quiet freak out.

He says, “we’re going to do one more” (boo) …well how many more do you deserve?  Seventeen, eh, you have a very inflated view of yourself.”

“We’ll do ‘Fat,’ (a song “by Rheostatics band”), it has similar chord shapes don’t hold that against us.  Did I tell you we were playing this one?”  “Would it matter?” Let’s have a round of applause for Kevin Lacroix on the bass and Don Kerr on the drums.  Paul Linklater on guitar.

“We played with Corb Lund yesterday, from Alberta.  He’s very handsome and very accomplished.  “Really really handsome.”  Kevin: “I made out with him.”  Dave: “I made out with a guy who I thought was Corb but who was really the cleaning guy for the hotel….  Last night on this very stage he intoned, he evoked the name of Washboard Hank Fisher….  You’re not going are you, it’s going to be a good song.”  They have Lots of fun with “The Midnight Ride Of Red Dog Ray”  with over the top backing vocals.  And in the solo, we get Paul Linklater, one more time pickin’ and grinnin.’

Before the next song Dave says, “What are you guys laughing at?  I can see you in the mirror, you know.  This is my favorite club coz I can watch my rock moves, they’re top ranked.”  Don:  “That’s actually Dave’s mirror, he brings it to every club and says that.  It’s embarrassing.”  Dave mentions a famous story (doesn’t know who it’s about) about a heavy metal singer who was hammered and he saw the guy in the mirror and thought he was mocking him.  So he challenged him to a fight.  That’s rock n roll.”

“You got a weak bladder Jerry?  I’ve got a weak bladder, too.  I’ve peed myself twice during this set.”

This is an album by Bidiniband called The Motherland.  It’s a delicious record and I’d like you to buy it.  All of you.  It’s only $10.  Produced in Toronto in a studio  … by professionals.  Trained professional sounds.  Nothing like what you’re hearing tonight.

There’s a great buzzy bass sound on “Desert Island Poem” which is “a funny song about cannibalism.”  Dave gets pretty crazy at the end.

It segues into a wonderful surprise of them playing”Queer.”  And then a terrific version of “I Wanna Go To Yemen” with a fun wild sliding solo.

He wishes everyone a good night and they leave for a few seconds.  “If we take a break we probably won’t play anymore.  But that was break…  We probably should have taken a longer break and milked it more… but we didn’t.”

“Do people who come to lean along the bar are they into the music?”  Kevin: “Those are some of the best people in Halifax…but the creme d la creme starts right here.”

Jerry didn’t find his flute did he?  Dave asks for a hand for the opening act, Communism Music, look them up

The first encore is the hilariously offensive song “Take A Bath Hippie.”   Sample verses:  “This ain’t the 1960s / These are brand new modern times / everyone is equal and everyone is doing fine,”  “Your revolution ended the day Trudeau retired.  A land of Stephen Harper… we got the country we desired.”   He asks, “You guys got hippies out here?  Probably not. You got Buddhists.  That’s just as bad.  They lie around in their robes  eating flowers.  Shaving each other’s heads.  Sacrificing a goat here and there.”

 We’re all getting G&Ts?  Thank you people of the night.  Kevin: “Treating us all equally?  Like my parents.  My parents would bring us all something she wouldn’t bring me a G&T without bringing one to my sister.”  Dave: They were saints.

FYI, tomorrow, there is Hockey Day in Canada–a ton of games on and footage from the concert last night with Theoren Fleury, Rich Aucoin, Buck 65, Miranda Mulholland, and the ever handsome Corb “The Boner” Lund and The Barra MacNeils.  Dave did a short movie about John Brophy, that’s gonna be on.  “Fuck, it’s Saturday… just sit at home and watch hockey.  It’s what we are supposed to do.  If you don’t, Stephen Harper will have your ass.  But I’ll save you because I’m the hockey guardian.  No I’m not, I’m just tired.”

We’ll try to do one last song.  Have we done “Take a Bath Hippie?”  We’ll save it for next time.  I’m trying to not do a typical show closer tune.

Last gig Kevin played with this band he was playing drums.   I guess it didn’t go well because he’s been demoted to bass. (ha ha).  Dave: “You’ve got the best bass player joke about what happened to Gordie Johnson.”  Kevin: “oh no that’s just nasty.”  Dave “You’re right, its for later in the washroom when were doing coke.”

They play a surprising “Stolen Car.”  It’s so weird to hear Dave sing this song (which he wrote)–he whisper sings it (and can’t really hit the notes).  It segues into a folkie
“Legal Age Life -> Do You Wanna Dance -> Legal Age Life” with them singing, “Oh yeah music is fun.  Friends are fun.  Rock n roll is fun.  Sloppy and fun.”  They end with a Johnny Cash line get rhythm when you get the blues.

Who would have guessed that just seven months later Rheostatics would reunite?

[READ: November, December 2017 & January 2018] West End Phoenix

West End Phoenix is a newly created newspaper.  It was inspired by Dave Bidini.

I have loved just about all of the music that Bidini has created (with Rheostatics and Bigdiniband) and I have loved just about all of the books he has written.  So why wouldn’t I love a newspaper created by him?  Well, possibly because it serves a community that I do not live in and have very likely never visited.  That’s right, this is a community newspaper for a community that isn’t even in my country.

And it is terrific.

But why on earth would I want to read it?  Can I really like Bidini that much? (more…)

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SOUNDTRACK: RHEOSTATICS-Fall Nationals, Night 9 of 10, The Horseshoe Tavern, Toronto (November 19, 2004).

The Rheostatics, live at the Legendary Horseshoe Tavern in Toronto, November 19, 2004. This was the 9th night of their 10 night Fall Nationals run at the Horseshoe. This is the final night with a recording.

I compared all of the setlists from the nine shows and was somewhat surprised to see just how much repeating they did (you can see the grid at the bottom with all of the songs for each night).

Kevin Hearn joined them.  And this 2 hour and 45 minute show ended with a Twist competition and a “Whole Lotta Love” jam which went on for 19 minutes followed by Neil Young’s “Powderfinger.”  Two versions are available – Mark Sloggett’s soundboard recording and 8-track files provided by Steve Clarkson.  As with the other shows with these two recordings, the Clarkson one is audience recorded and louder, but with audience noise.

The show starts with a song by Martin and a song by Tim.  There’s no Dave for a full ten minutes!

“Self Serve Gas Station” has loud keyboards that fill out the introduction.  In the middle of the song, when Martin sings “worry about their son?” Tim asks “which one?”  And Martin sings, “What went wrong with Johnny, is he dumb?”  “What about Doug?”  It’s followed by Tim’s “Soul Glue” which sounds great.

Tim seems to be having a lot of fun this night.  When Dave sings “Me and Stupid” Tim is full of backing vocals, including chanting “Gabba Gabba,Hey!” when Dave mentions the Ramones.

“The Tarleks” has a bit of a rough opening, but after a quick tuning, all is well.  “Claire” opens with some interesting washes of keys before the familiar guitars come in.  Tim is still goofy this time singing “horrify me, Claire, roto-till my hair.  Let me see you say a line that isn’t there.”

Tim says they’d like to send “Power Ballad For Ozzy Osbourne” to The Buttless Chaps.  Thanks for coming and rocking.”

During “Four Little Songs” Dave says, “Kevin, Sing us a song.”  He sings his song “This Is It” “There was fresh butter melting on a waffle…”  As the song moves to the fast part Martin sings “who stole the kishka,” a nod to the previous night. It ends and Tim yells, “Someone call the cops” and Martin plays a siren on his guitar.

Dave introduces the Bastard Brass who will play with them for three songs.  They are Brian on trumpet, Alexi on trumpet Alain on the ‘bone and good ol Seth on the saxophone.  Unlike some of the horns they have play with them, these guys are the real deal and they sound great.

They bring a lot of depth to “P.I.N” and I love when they play the riff of “Mumbletypeg.”  However, there is an interruption during the song, which I assume is real.  Tim sounds very concerned, asking if “you know that guy.”  Then he calls for Security.  When the song is over, he says, “It’s okay to have a good time but don’t be gross about it.”   Then…  “This guy’s gotta go.”  Then “Well okay, you can stay.   But seriously mind the person next to you.”  even Mike gets in on it: “You know you’re gonna get turfed it you keep it up, buddy.”  Then quieter: “Granted not by me.”

Things must settle down, because they play “Marginalized” and Tim thanks the guys “that was worth listening to all the practicing in the dressing room.”

They play a beauty couple of songs: “Shack in the Cornfields” and “Try to Praise this Mutilated World.”  Dave explains that “Pornography” is another song about America.

And then Martin says that they are the Rheostatics, but Tim says, “We are the Toronto casts of the Rheostatics.  That’s Mike’s line.  I thought it was good.”

They send “Making Progress” out to Mike Dunne who named the band back in Grade 11 (or earlier).  Thanks, Mike its all your fault.”  Mike: “very new wave.”  Tim: “This goes out to the city of Bolton, Ontario.”  Why is that?  That’s where Mike lives.”  “Well, somebody’s gotta.”

For “My First Rock Concert” they bring back Kevin Hearn.  The Kevin Hearn Revival.  Him and his fancy T-shirts.  Dave says that Kevin and Dave will interweave their songs.  This is Dave and Kevin’s journey of rock and roll awakening.  Dave sings his parts and Kevin’s first shows include: Mr Dressup, Peter Appleyard;   Then Santana (where the guys in front and behind him threw up).  Then playing a gig between Bon Jovi and Cheap Trick.  At the after party, the guys who sing “Everybody Wang Chung Tonight” showed up.  Kevin sings a few choruses and then segues into “Surrender” (with nice harmonies from everyone).

Dave asks if Kevin has any Joe Jackson stories.  Tim interrupts and says he took a full bottle of Heineken off of the stage at a Joe Jackson show, wondering whats in that green bottle.

Kevin follows that with: Once I went to Burl Ives’ house for chocolate cake and he looked out the window and it was almost a full moon and in that Frosty the Snowman voice he said, “Oh look someone’s taken a bite out of the moon.  It’s true.”

When the song is over Dave says, “I imagine the UN General Assembly sitting together with the world on the brink of war and deferring to Kevin and he will tell that Burl Ives story and save the world.”

Tim continues, Dave and I, Bo Donaldson and the Heywoods, Disneyworld in Florida.  Dave and I were both in the crowd.  We did know each other but we were both there.  My first show.”  Dave: “Five seconds of complete bewilderment.  What the hell is that guy going there?”  Martin: “Who is Bo Donaldson.”  Tim: “Remember ‘Billy Don’t be a Hero?’ The greatest protest band ever.  Or was that The DeFranco Family?”

Tim continues, “We’d like to celebrate our ethnic heritage with this next song.”  Jennifer Foster is back on accordion for “Who is that Man, and Why is he Laughing?.”  It’s followed by “Yellow Days Under A Lemon Sun” with verses from Kevin, Tim and Dave.

They play “Aliens (Christmas 1988)” and before the final verse, when the song gets mellow, Tim starts singing “ABC, 123” and then Dave picks up “Michael Jackson.”  But then he says, “Why don’t you just give us some “It feels good to be alive.”  Tim asks what kind?  Phoning it in?”  Dave: “Oh no, big sale. ”  And after doing some of the song in a slightly different way Martin says now I feel like doing the riff, so they rock out.   At some point, Mike asks, “Are we still playing aliens?”  They get into some jazzy chords–merch chords.  Jazz and merch sales go together so well.  Jazzy Swag.  Martin comes out of the jazz with some blistering punk chords to open “RDA.”  They’re having crazy fun now, Dave starts singing “They don’t give a fuck about anybody else.”  After they wail, Mike asks, “Where’s the no solo sign?”

At the end of the song, they thank The Imponderables, and The Buttless Chaps.

After the break, they play “Legal Age Life” and jam it for 13 minutes.  The middle of the song features the Fall Nat’ls annual Twist competition.   Tim asks for gaffer tape to tape up “Wendell.”  It’s gonna be a really great bit when it’s ready.”  Tim: “I want to give Martin a laugh when he comes out.”  When Martin comes out, Tim asks, “Martin is that a Steinberger hockey stick?” (It doesn’t seem to go over well).

When the Twist competitors come up, Tim asks, “You’re not obnoxious drunk guy, are you?”  “No he knows all the words.”  The audience votes for Ann.  And Mike says, “Make that guitar talk for me Martin.”  he does and they have a “conversation.”

Tim asks, Do you know “The Things We Do For Love?”  I just wanna hear it.  Is that Hall and Oates?  It’s 10cc (Mike then explains the origin of that band name).

Martin starts “Record Body Count” by speaking the ending: “Joey stepped up on a block of ice, put a rope around his neck and fell asleep before he fucking died.”  Mike: “What a goof!”

Dave says, “We’re here tomorrow for one more night.  Good night!”  And yet, there’s 25 more minutes of music!  There’s some general jamming fun–in fact this jam (the Whole Lotta Love jam) runs about 19 minutes.  Someone takes a “Vegas walk off.”  And then Dave I think plays the Green Sprouts Theme, but there are washes of chords overwhelming everything.  Then people just start jamming song riffs: “Cat Scratch Fever,”  a Led Zeppelin riff or two, “Daytripper” “Tom Sawyer” Martin does the zooming sounds from “Bullet the BLue Sky” (or “Whole Lotta Love”).  And then someone starts jamming “Whole Lotta Love.”  About 7 and a half minutes into this, Tim says “We’re gonna do this all night long, so you might as well go home and gets some sleep.”  While “Whole Lotta Love” is playing, Kevin begins singing “In Dreams” by Roy Orbison (“Candy Colored Clown”).  Then Tim says, “I’m serous, this shit’s going on all night.  Get the fuck out of here!”

Dave says, “On that note, Good night.  I gotta go to St. Catherine’s Ontario in the morning.  I’m reading in the mall.”  Mike: “Two Vegas walk offs.”

There’s a sample played from Colonel Sanders “This is Colonel Sanders here to tell you about my exciting new chicken..  in addition to herbs and spices there’s  shampoo and dish soap in it, so while you’re eating, you’re cleaning.”

At about 12 minutes, Kevin starts singing “Whole Lotta Love.”  Martin mocks the “every inch of my love” part and Mike and someone else do the moaning.  Then Kevin starts singing “I’ve Been Everywhere” while samples galore play.  Finally Kevin sings a mellow version of “Like a Hurricane.”

And then a proper start to “Powderfinger” which makes up for the depravity of the previous night.  When they finish someone asks, “Hey are you still here?”

It’s not the final night of the residency, but it’s a really fun and kind of loopy night.  Some great playing mixed with some real silliness.

[READ: April 12, 2017] Bats

This has been my favorite Science Comic yet.  I love bats and this was great way to learn even more about them.

The book begins with Little Brown Bat flying through the night sky.  But he is lost.  And he happens upon a group of people in the desert hoping to see the Mexican Long-Tongued Bat and the Lesser Long-Nosed Bat, two nectar eating bats who help to pollinate flowers.

While the nectar bats do their things and the people enjoy it, one of the bats talks to Little Brown Bat about whats’ going on.  Finally the bat convinces Little Brown to dive down to eat all the bugs that the light is attracting–the humans won’t mind.

We learn about bat predators–foxes and snakes (which is why they stay off of the ground), but they can’t do much about owls. (more…)

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SOUNDTRACK: RHEOSTATICS-Fall Nationals, Night 8 of 10, The Horseshoe Tavern, Toronto (November 18, 2004).

The Rheostatics, live at the Legendary Horseshoe Tavern in Toronto, November 18, 2004. This was the 8th night of their 10 night Fall Nationals run at the Horseshoe.  Featuring a crazy 17 minute medley followed by Neil Young’s Powderfinger.

Kevin Hearn played keyboards for much of the show and they played a number of songs from the Group of 7 disc and Harmelodia.  The show ran for 2 and a half hours.  There’s only one recording of this show, and it sounds great.

The show opens some what mellow-ish with “Digital Beach.”  It’s a pretty version of this unexpected song and it’s followed by an awesome “Boxcar Song” with Kevin Hearn on keys.

“P.I.N.” sounds lovely.  Midway through, you can hear bongos playing and Martin sings “I’m in the snow / playing bongos.”  He’s quite growly through the song.  After the song, you hear people shouting: “Come on let Martin sing!” Dave: “I think he is for hire, sir.”  Mike: “But only as a mohel.”

Kevin Hearn is on the organ for “It’s Easy To Be With You” and he sings on “Yellow Days Under A Lemon Sun.”  Actually everyone seems to take a verse on this song (but I think they’re making them up as they go along).  At the end, Tim says, “We started off with no keyboard players and now we have two.”

Mike asks if he can get more of Kevin’s sampler?  Dave: “Careful what you wish for–he’s got some Buddy Hackett in there.”

It’s followed by three more from Harmelodia: a sweet “Loving Arms,” a fun “Home Again” and a romping “I Am Drumstein.”  Tim says he is disappointed because he missed a perfect bongo opportunity in that last song.

After an introduction of Chris Stringer on “the organ and effects and other stuff,” they move toward 2067 with “Marginalized.”  There’s a sweeping, trippy keyboard solo in the middle.  And then some guys start shouting “Whale Music” and other things.  Dave says “Loud guy crowd.  Every Fall Nationals there’s a loud guy crowd.”

Introducing “The Tarleks” Dave says, “Dr. Johnny fever was here last night in the flesh, it was rather exciting.”  (Did they really not mention Howard Hessman the night before?).

Over the entire run there’s been constant requests for monitor sound level changes, especially by Mike.  Mike says he could use less of Martin’s vocal (groans from the audience) and says he can’t hear Martin’s guitar.  Martin asks if his guitar sounds okay out front.  There is much applause.  Mike: “you’re just fishing for a compliment.”

Before “Pornography,” someone asks where the bongos are.  They are put to good use in the song.  After saying how proud they are of the new album the  opening of  “Shack In The Cornfields” sounds a little off.  But it is quickly righted and off they go.  The song ends with what sounds like a skipping record and very quiet percussion playing as the s song slowly segues into “Try To Praise This Mutilated World.”  Martin says, “I like that song.  Dave wrote it.  We’re the Rheosatics.  Are you having a good night?”  Someone shouts something and Martin snarks: “You wanna hear our older, funnier stuff?”

They go old, but stay mellow.  Tim is “gonna serenade you with a song.”  “All the Same Eyes” is one “we don’t do anymore.  And now one we just started doing, ‘Here Comes the Image.'”  Tim introduces it by saying “This is a lesson for all you drummers out there.  Never be late for a rehearsal or you will be banish-ed to the keyboard.  Because everyone else wants to play those drums, including me and Dave.  This next song takes place in 2067, so best of luck to you all.”  It’s followed by another mellow song “Who Is Than Man, And Why Is He Laughing?” with Jen Foster on accordion.  After the song, Dave says, “I don’t know if I was dying back there or if someone is cooking but I smelled pancakes.  Kevin, you got a griddle back there?”  Mike also says, “Shameless plug.  Jennifer has her CD for sale at the merch booth.”  Tim: “It’s called Shameless Plug.”

Dave notes that they are “just entering the ‘shang’ part of the evening, folks.”  Whatever that means, the first song is a rollicking “Stolen Car.”  It feels a bit shambolic, but never out of control.  There’s some cool keyboard sound effects during the middle jam.  There’s a pretty “Little Bird, Little Bird”and then a powerful “California Dreamline.”  It segues somewhat oddly into a grooving “Horses” (the only time they’ll play the song during the nine nights).   Kevin gets a wild keyboard solo in the middle of the song.

Dave says there are here the next two nights and the Loud Guy says “we’re coming tomorrow.”  Dave: “Thanks for the warning.”  Dave seems a bit tired of the bozos.  But he does seem to like the fans up front: “You guys have great looking twin shirts there.  I can’t read what’s on the second bus though.  Nowhere and Boredom.”   Mike says he’d choose Nowhere over Boredom, but Dave’s not so sure.  “Boredom gives you something to work with.”

Tim says, “Bear with us while we do this song for our friend Ron Koop.  He is having a hard time right now and hopefully he draws something from this.”  It’s a lovely version of “Making Progress” which is followed by an upbeat and rather silly “Monkeybird.”

And then comes the above mentioned 17 minute medley.  I’m glad Darrin wrote all the songs down, because it’s hard to keep track:

The Horseshoe Medley (The Pooby Song / The Hockey Song / Devil Town / The Ballad Of Wendel Clark Part II / Bees / Folsom Prison Blues / Ring Of Fire / Old Vancouver Town / War Pigs / Human Highway / Rockaway Beach / Walk On The Wild Side / So Long Farewell / Who Stole The Kishka / Let’s Go Skiing In The Morning).

It begins with Dave playing the acoustic guitar and singing “The Pooby Song.”  “Take one, Kevin” and Kevin gets a simplistic guitar solo.  Dave shouts “take it to C” and they start Stompin’ Tom’s “Hockey Song.”  After the “second period” Dave notes: “last game of the lock out season that didn’t exist.  Doesn’t matter, we got enough hockey stored up in our heads that we’re skating all the time anyway.”  The songs ends, but that isn’t the key from the first tune, we gotta go back to the first tune.  Tim: “Take it to B flat.  I love B flat.  Now, back to D.  You got any chords you like?”  Kevin starts singing Daniel Johnston’s “Devil Town.”  Up to E sharp (or F, whatever you want to call it).  Back down to D take it to C.  They start “Wendel.”  Kevin’s got one.  “‘There are bees, there are bees, everywhere’  you know this one, right?”  Tim: “Does this take place in the devilish town?”  Take it to C, for Dave to sing Johnny Cash’s “Folsom Prison Blues” then Kevin switches it to “Ring of Fire.”  Tim picks up with Stompin’ Tom’s “Bridge Came Tumbling Down.”  Kevin resumes with a hilariously upbeat and folksy “War Pigs” with Martin doing some suitably metal guitars sounds.  They even try to do the heavy staccato part before resuming the bluesy part.  “Go to G.”  Dave sings Neil Young’s “Human Highway” but messes it all up, “Okay, never mind go back to E again.”  Tim: “Take it up to A” for “Rockaway Beach.”  Then it’s Kevin with an amusingly upbeat take on “Walk on the Wild Side.”  Mike jumps in with a goofy stab at “So Long, Farewell” and then Dave takes over with “Who Stole the Kishka.”  Tim is yelling “someone call the motherfucking cops.”  The medley should end there but someone keeps it going “a two-step nightmare.”  Dave sings Frankie Yankovic’s “Let’s Go Skiing” while about three other songs go simultaneous.  Someone chants “four more years” and then Dave starts “Powderfinger” in the medley.  He kind of screws it up and as it fades, Martin asks, “What’s the next verse?”  “Something about hunting” and then Martin takes it over for real. He knows some of the words, and they kind of salvage it.”

At the end Dave even says “Thanks, I think.”

But after 8 days in a row, you’re allowed a bit of a fun meltdown.

As they walk off, Martin asks, “Hey Dave what’s a kishka? A sausage type thing?”  A fans shouts, “a small donut.”  Dave: “It’s not a small donut.  But that’s funnier.”  It’s a great and funny end to a wild show.

[READ: July 11, 2017] Real Friends

I’ve enjoyed Shannon Hale a lot recently, so I was pretty happy to read a new book by her.  Sarah had told me that it was a really excellent portrayal of girl friendship in grammar school.  It is also biographical and makes me think that it’s pretty amazing that Hale made it through to high school at all.

The book is divided into sections with friends’ names, and each of these sections is basically how she met these friends.

Shannon was the middle child between a pair of older girls and a pair of younger siblings.  She was kind of alone and was very clingy to her mom.  But on her first day of kindergarten, despite being nervous and sad, she made friends with Adrienne.

They were soon inseparable.  Shannon made up games for them in which they fought off bad guys (boys who just seemed to want them in whatever capacity a five year-old girls thinks boys might want them).  I love that their game was utterly feminist and yet they were portraying Dallas Cowboy Cheerleaders because that’s who was popular and everyone wanted to be one.  And yet these cheerleaders had pet saber toothed tigers and sharks and they beat up ghastly boys. (more…)

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SOUNDTRACK: RHEOSTATICS-Fall Nationals, Night 3 of 10, The Horseshoe Tavern, Toronto (November 13, 2004).

The Rheostatics, live at the Legendary Horseshoe Tavern in Toronto, November 13, 2004. This was the 3rd night of their 10 night Fall Nationals run at the Horseshoe.  This show was exactly 13 years ago!

I compared all of the setlists from the nine shows and was somewhat surprised to see just how much repeating they did. Most of the repeated songs are new ones–they played a lot from 2067, which makes sense.  But for a Fall Nationals, there’s really not a lot of “popular” or “rare” stuff.  But the band is in terrific form for all nine shows and the recordings are consistently great.

Over the PA, they’re playing some good music, which Martin says, “That was my brother’s [John Tielli] band, Clark, on the PA there.  We’re the Rheostatics project.

They open the show with “It” which is a fun way to start.  Martin is feeling a little silly and sings “I grew up on dinosaurs” and the rooooars to the delight of all.

You hear Martin say, “Woodstuck?”  They play and Dave sing a line and says “That’s wrong.”  But the rest of the song is right on and at the end after “hippie child,” Martin says “waah.”  Tim tells the story of someone bringing them a 24 track master of that song in Vancouver.  But he felt it was too heavy to bring home.  Although someone (Martin?) says that it is in fact in his basement.

“Happiness” seems to rock along really nicely.  After which Martin says, “It’s Saturday night in Bonertown.  The city where you can’t.” Dave: “But you can, its’ ok to have a boner.”  Mike: “Yeah, but can you smoke it?”

“Mumbletypeg” sounds a little sloppy at the beginning and Dave doesn’t sing the first line.  But they pull it together.  It’s followed by “Marginalized” which opens with a groovy drum before the funky bass and then an introduction of Chris Stringer on the keyboards.

Mike comments, it’s such a lovely extended summer up here.  Holy french fry lights, designed to beautifully bake us.

On “Four Little Songs,” each guy takes his verse: Martin, Tim, but when it’s Mike’s turn, Chris plays some crazy trippy synth noises.  Dave gets his verse and at the end, the fast riff devolves into utter chaos with Martin and Chris just making all kinds of weird ass noises.  They end the song with the bass thumps and state “By Mennen.”

Dave introduces “The Tarleks,” “here’s a song about a super salesmen”  Once again, Martin has a lot of fun singing it.

They play a zany version of “I Dig Music” and in the middle where Mike has to do his slow part (which he seems to really dislike), he says, “For the longest time I’ve been thinking Dave’s ideas were so gay and then he offered me a martini.”  After a sip MPW sings the Seymour Stein line and then they rock the end of the song.   I really enjoy Tim singing the “too bad.” backing vocals.

AS they start “Here Comes the Image” Dave notes the “double keyboard attack, eh?”  It’s really evident in the solo section as the one keyboard plays the solo and the other plays trippy sound effects.  Then up comes Jen Foster on accordion to join them for “Who Is This Man, And Why Is He Laughing?”  Martin is singing something in his robotic voice thing but I can’t tell if it’s just sounds or actual words.  At the end, Martin says, ”That’s a nice walk in the park, doncha think?”

Tim notes: “our heritage gets to shine in that song.  A little bit of Czech, little bit of Italian, little bit of French, little bit of Polish.  No English.”

“Pornography” opens with synths which is a nice change.  coincidentally, Dave says to someone: “You put your shirt back on, I see.  Good idea, sir.”

“We Went West” continues the rather mellow middle section of the show.  At some point Dave, I think says, “while you’re there check out the place mats they’re hilarious.”

Next up is “California Dreamline.”  Dave announces, “We’d like to invite Paul Linklater up for the next song.  He sang this song with us last year on guest vocalist night and we have guest vocalist night next Wednesday.  His rendition is pretty painful.

The next guest is during “I am Drummstein” Ladies and gentlemen, the star of stage and sound in Belleville, Ontario, Mr Anthony Fragomeni:  “Too bad that you quit Vebron, wasn’t working out?  They kind of sucked.”  While they are in the middle grooving section, Tim says, “This is the Better Than Ezra part of the evening.”  In a real coincidence, on this same day in 2017, Barenaked Ladies announced a summer tour with Better Than Ezra opening.  I haven’t thought about them in ten years.

“Satan is the Whistler” is quiet and menacing to start.  Martin gets the fast guitar riff pretty well this time.  But he’s still being a little silly singing “moose away aroo aroo arroo” and then “Satan is the Whistler, Satan Live in Whistler, arooo!!!”

During the encore, they raffle off an item with a ticket.  When Tim reads out the number, someone whoops and Dave says, “There’s always one guy who claims he has won when he hasn’t won.  I wonder what void you’re trying to fill in your life.”  Then after a pause.  “Just kidding.”  No one claims the prize, so Dave says anyone can go to the merch table with it later.

“Little Bird, Little Bird” is insane.  It starts with some silliness when Dave mocks Tim for his hat and then says, “Tim you have to bring popping and snapping to country music.  It hasn’t happened yet.”  They play the song and then midway through the it stops with much laughing.  Dave says, “there’s no room for karate in this song.  Cant believe you re always trying to sneak your karate in there.”

Time retorts, “Wait a second, you guys made that “ho ha”part while I wasn’t in the studio and now it comes time to do it live and I’m the only one doing it?  Dave says: “We’re not going hoo ha and laughing in the middle of it.”
Tim asks the audience, “Who won the debate, Tim or Dave?”
Dave: “There was no debate because you’re not gonna do it any more.”
They compromise: “everybody ho ha and nobody karate.”
Tim mutters, “I hardly even karate’d I can’t believe you saw it.”
Dave: “I couldn’t help but see it, you almost took me out with one of those chops.”
Martin: “He’s feeling sensitive like a little bird.”

They finish the song and then Martin says, “okay we’ll do ‘PIN’ for ya.”  But before the song starts we get a run down of all of the opening acts for the next few shows:

Sunday matinée: Hebrew School Dropouts on at 4.
Monday night Selina Martin with the Formidable Forces of Bigness (Mike: Close enough Faceless Forces of Bigness).
Tuesday is free.  We’ll give about 61%.
Wednesday night Kevin Hearn is opening and it’s guest vocalist night.  Tim: “I’m definitely coming on Wednesday.”  Martin: “I’m going to come for every single night (get the bonus pack).”
Thursday is Killer Thursday Danny Michel.  And apparently John Wojewoda will do some Bluegrass Nightmare.
Friday the Buttless Chaps are flying in from Vancouver.
And Saturday, The Imponderables will be back.

After “PIN,” “Ozzy” sounds even more maudlin with the mandolin and backing vocals, but there’s a pretty wild solo.  There’s a special shout out to Chris Stringer: “you can’t tell but he’s actually playing all our parts for us. “

They end with a lovely ending “Making Progress” which has a wonderfully smooth ending.  Thanks to all the out of towners, out of country-ers and out of mind-ers.

Then the guys come back out to try to get rid of the raffle prize.  Tim runs through a bunch of numbers.  Come on, people get with it.  I wish I had money to burn. I remember when 50 cents meant something.  Finally he says, “Well come and get the fucking t-shirt, Oh. He’s a liar.”  This is so embarrassing… anyone show me half a ticket?

[READ: April 14, 2017] Secret Coders: Secrets & Sequences

Secret Coders 2 ended with a pretty big cliffhanger.  Tabitha and I were a little bummed that there wasn’t more of a recap at the beginning of this book.  We sure hope that book 4 has a bit of recap because we’ll never remember the ending of this one when its time for that book (which just came out).

The kids are able to use the repeat function of the turtles to scare of the mean old rugby players.  In the commotion, it sure looks like the Professor’s nose falls off (what?!).

The next day in school, one of the rugby players calls for a truce, he never realized that Principal Dean was such a bad guy.

The kids learn about parameters–how you can use the same code, but just change a variable to make a bigger object (in this case, triangles). (more…)

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 SOUNDTRACK: RHEOSTATICS-Ultrasound Showbar [2nd GSMW Night 1] (February 25, 1994).

The next four shows are four of the five nights from the Second Annual Green Sprouts Music Week held at Ultrasound Showbar Feb 25-Mar 1, 1994. Setlists for all shows were fairly similar in content focusing mainly on the 25-30 songs that they would use for consideration on Introducing Happiness which began recording the following week. This first night featured 24 songs never previously released and a few that were played live very very rarely including Joey III, Floating, Fluffy, Green Xmas (which would appear years later as The Music Room on Harmelodia) and Symphony. Some of the audio on the beginning of each side of the tape is a bit warped and thus has a bit of a flange like effect for a few minutes.

That flange is very noticeable on “Jesus Was Once a Teenager, Too,” but it all settles down for “Tim Vesely going electric” on “Introducing Happiness.”  Bidini jokes that this is going to be their “up with life” album.

Introducing “One More Colour,” Dave Clark says, “Our next diddy is by a friend of ours who we last played with in Guelph.”  They follow it up with “Fan Letter to Michael Jackson” and “Full Moon Over Russia.”  After this song they ask the audience which chord they like better during one section–the minor chord wins.

They introduce “Fishtailin'” as a song about “love and life and living and loving.”  But an even better introduction comes for “Earth/Monstrous Hummingbirds” in which Bidini says it’s a song about the missing link.  Mankind was just walking around on earth drooling a lot.  And then all of a sudden they were up flying kites and making hotcakes and colorizing films and making Top 40 Radio.  Some say aliens impregnated cro-magnon man.  Dave thinks they came down for just two days and made everything happen.

Before the next song, Clark asks, “Dave what’s the best time of the year?”  Bidini says “Spring time: spring training starts.  Clark says I find around September 23rd (Bidini says, that’s coz baseball’s ending) because it’s 21 degrees–my favorite temperature.  Bidini: “yeah well spring’s better.”

There’s some banter about rehearsal space.  Clark says the band that used the microphones after them left them smelling like cheese.  Tim: “and by coincidence the band is called “Cheesemike.”  Then Clark tells a story about them being on Lunch TV, with his friends calling up saying “hey man, what are you doing on lunch TV,” and I said, “what the fuck are you doing watching it?”  Martin is annoyed because he stepped all over his introduction to a sweet version of “Take Me in Your Hand.”

They ask if there are any complaints so far.  Has everyone who has written the band gotten a reply?  Then Tim requests that Martin sing a verse of “Fluffy” which has only been played one other time on the live bootlegs (back in 1990).  The verse about champagne  Champagne?  Martinis, sorry.  It’s incredible falsetto, but Martin stops the song and says it sucked.  The last time they did that song a dark cloud came over Saskatoon.  Martin gives himself credit for writing one of the sickest songs ever.

Then they do one of the “not sickest” songs ever written: “Claire.”  Whale Music the film is locking down on Tuesday.  Clark jokes “Lee Majors is in it!”–he isn’t.  And then a great version of “Me and Stupid” before they take a break.

Paul McCloud “and his two little clouds” played in between sets.

They come back and At the conclusion of “The Woods Are Full of Cuckoos” Dave says that song is where Jethro Tull meets Rush.  Someone shouts, “What corner?”  Dave replies, “The corner of Bloor and Symington” (voted as the worst intersection in 2012).  At the end of “In This Town” Clark asks “who’s got Olympic fever? I do!”  Bidini asks, “Who’s your favorite Olympian?” Clark mentions a sportscaster….  Bidini says, “Dave hasn’t watched one second of the Olympics clearly, or he would have said Myriam Bédard.

Then there’s “Floating” a song I don’t know at all.  It’s a slow building Bidini song with a bouncy refrain of “up in the air” and a really noisy middle section.  After that he asks, “Didn’t everyone on the Finnish national hockey team look like Great Bob Scott?”  Clark says, “It’s funny you should mention that.  If I was gonna write a song for anybody it would be for Kevin Hearn, my favorite clown.  Of course none of you know who Kevin Hearn is… (ironic that they opened for BNL the previous year)

We had an idea one night that we would do a sequel to Melville–continue the stories from the album.  They only have two, this one “Onielly’s Strange Dream: is one of them.  It starts out very pretty with a recognizable guitar riff, but midway through the tape must change or something, it gets really loud and flangy.  It’s okay, it’s virtually impossible to forget the words on record.  It’s virtually impossible to forget the words “chicken Jimmy kept em alive,” To which Martin mumbles, “yea well he did.  It’s not funny.”

“Symphony” is also new to me.  On the song Bidini plays drums.  Martin stops the songs after a few verses and Dave complains that Clark was so jealous that Dave was playing drums that he forgot to turn the snare on.  And then Martin says it was way fast.  There’s some cool riffs and a line about no one takes solos in this band.  I’d like to hear that one more clearly.

Before the next song, Bidini says, I don’t play guitars on this, thank the lord.  Then there’s some drummer jokes:

Drums is a promotion actually–a drummer told me that.
Clark yells, “If Laura Lynn’s in the audience shame on you for cutting on drummers–they’re the foundation of any band.”
Bidini: “What did she say? How do you know a drummer’s at your door?  The knock speeds up and gets louder.  Coz if she did, that would be okay.”
Clark says, “Of course the most schooled musicians sit behind the tubs.”

The slow and country sounding “Row,” gets the dramatic introduction, “This is a song… Tim wrote.”  Then comes a rocking “Triangles on the Wall.”

Before “Bread, Meat, Peas and Rice,” Clark asks, “Just acoustic guitar and voice?”  But no, “Full band.” Clark jokes, “We’ll attempt a song we don’t know.”  At the end Clark asks, “Was that cannibolically inspired?”  “Alomar” is always a fun treat especially when followed by a wild and raucous “PROD.”  At the end Tim asks, “I wonder if Steven Page had a song, “We are the people’s republic of Steven Page, how would it go?”  And they give it a shot.

They then launch into the lurching “The Royal Albert” the other song that’ s a sequel (“Joey Part II”) which ends with the guys all singing what sounds like “soooey.”  After this song, Dave says, “We’ll take some requests because we’ve run out of new material. [Much shouting] Okay we’ll do them all.”

They start with “Record Body Count” which ends with a fugue vocal of everyone singing “Joey stepped up on a block of ice,” which is pretty cool.  It’s followed by the unrecorded “Joey III” (all three parts together, just out of sequence).  “Joey III” contains the “do you believe it” refrain from “Christopher,” which is a little odd, but which works.  This segues into a slow “Self Serve Gas Station” that eventually rocks out.

They end the set with some covers: a short, sloppy but fun version of Blondie’s “Heart of Glass” (sung by Martin) and a pretty rocking version of Cheap Trick’s “Surrender” (sung by Dave) which segues into a blast of “RDA.”

Despite the slightly muddy sound, this is a great set, especially if you like Introducing Happiness.

[READ: January 18, 2017]: “In This One”

I don’t really have a sense for what Stephen Dixon is doing in his writings.  He really likes to play with convention as a way of telling a fairly conventional story.

So, in this one, Dixon uses the phrase “in this one” in nearly every sentence.

It starts out “In this one he’ll have only one daughter and no other child.  In this one he’ll be divorced and his ex-wife will live in California…”

The character being discussed is a writer, “in this one he’ll have finished a novel a month or so ago after working on it for more than three years.”

In this one, his daughter tries to set him up with a coworker but neither finds the other interesting.

It sounds like Dixon is trying to write a new story–trying to create a character based on other characters.  But as the story proceeds it seems like this story is far more self-reflective.  In this one he meets a woman and he’s off to bed with her. But he warns her that it has been a long time and he hopes he’s able to get started. (more…)

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sardine4 SOUNDTRACK: AUTOMATISME-Momentform Accumulations [CST118] (2016).

Layout 1Constellation records had been rather quiet this year in terms of new releases.  And then back in August they announced three new discs with this intriguing blurb:

Constellation’s three new fall releases by Off World, Automatisme and Jason Sharp are dropping on September 30th…  These new releases are wildly different yet satisfyingly leftfield albums that share an electric thread of sorts.  Electronic music strategies, technologies, histories and sensibilities come into play, in very diverse ways, with each of these debut records – making them stand out a little differently in the context of the Constellation catalogue perhaps, but also informing one another and making a lot of sense to our ears as an album trio (somewhat in the spirit of our Musique Fragile series).

This is the second of those three.

From the Constellation site: “Automatisme is the electronic music project of Quebec-based producer William Jourdain, who has been self-releasing a brilliant series of albums and tracks under this moniker since 2013, exploring various intersections of drone, dub techno, electronica, ambient, electro-acoustic, and noise.”

This album is, indeed, very drone, dub techno, electronica, ambient, electro-acoustic, and noise.  There are six tracks: Transport 1, 2, and 3 and Simultanéité 3, 1, and 4.  The Transport tracks are all about 5 minutes and the Simultanéité tracks are all about 9 and they are interfiled on the record.

“Transport 1” seems to be all about the thumping drums. The synth lines are fairly simple and serve to propel the song along as almost an ambient dance track.  “Simultanéité 3” opens with some mechanical drone sounds and a beeping almost like a heart monitor.  The beeps change and then a new drum beat is added while fiddling synths tickle along the top of the song.  Things slow down and speed up and the track reminds me a lot of something you’d heard on NPRs awesome Echoes program.

“Transport 2” is more about drums. There are several different percussion themes going on–fat repeated drums, the main steady beat and then some low synth that runs through pretty much the whole thing.  “Simultanéité 1” is a drone song with a drum sound that is like a heart beat.  About a minute in the note changes and 30 second later the song takes on a different texture and pulse.  It remains largely ambient for most of the song.

“Transport 3” has more percussive sounds that make this track much faster than the others. The final track “Simultanéité 4” has what sounds like voices (although I assume they are not) echoing underneath the slow pulsing rhythms.

While the track listing alternates between drum heavy tracks and more mellow tracks, the whole disc has a very chill vibe.

[READ: December 5, 2014] Sardine in Outer Space 4

Sardine is a children’s book published by First Second.  It was originally published in France (and in French) and was translated by Sasha Watson.  There are six Sardine books out.

This time the inner flap says “No Grownups Allowed (Unless they’re pirates or space adventurers),” and this book had some of my favorite cartoons yet.

“Under the Bed” has the kids getting lost under Little Louie’s bed and finding all the monsters that hide there.  But Sardine’s adventures are so scary that the monsters don’t stand a chance trying to frighten him–they’re even a little afraid of Sardine, too.  Of course the kids have someone who they can go frighten. (more…)

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