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Archive for the ‘Rush’ Category

  grant7SOUNDTRACK: VOIVOD-The Outer Limits (1993).

voivodouterAfter Angel Rat, original bassist Blacky left the band.  That’s never a good sign.  After the tour for this album, original singer Snake left the band.  That’s an even worse sign.  I still can’t quite figure out exactly why Snake left (personal problems) but he went on to form the band Union Made.  For a very detailed history of the band, check out this very cool timeline at Voivod dot net.

The Outer Limits got a pretty big release.  I have an original copy that came with 3D glasses and all of the illustrations in 3D. But I was a little disappointed in Angel Rat and I don’t think I gave The Outer Limits much of a chance.  It was no Nothingface.  But the band was always morphing.  Since Angel Rat went very commercial, this album brought things back into the prog realm (with a 17(!) minute song) but also had a lot of commercial songs.

The album opens with “Fix My Heart” which starts out much heavier than anything on Angel Rat. It’s also got some metal guitar pyrotechnics (squeaks and harmonics).  Snake’s voice isn’t quite as pretty as on Angel Rat either—he growls a bit, but maintains his nicer voice overall.  Nevertheless, “Fix My Heart” is a pretty commercial enterprise (as the title might even suggest).  There’s some good “spacey” guitars sounds which bode will for the sci-fi angle of the album (and there’s some cool effects that reward headphone use).  “Moonbeam Rider” starts with a very classic rock sounding riff and then morphs into a kind of pretty, mellow verse.  But the interstitial guitar is all speed.  It’s a nice mix of fast and slow.  This song features some interesting bass work—nothing fancy but for the slow parts it is actually keeping the beat instead of the drums.  The bassist was a studio musician for this album.  There’s also what sounds like a bong during the pre-guitar solo section (the solo is fairly traditional).

“Le Pont Noir” is a mellow, slow guitar song with a very cool delay effect and Snake’s whispered vocals.  The bridge gets heavy with a wonderfully weird Piggy guitar riff.   It’s one of my favorite songs on the album.

Then the band’s second Pink Floyd cover appears. This time it’s the even more obscure “The Nile Song.”  They have rather heavied this one up with crunching guitars and Snake’s distance screaming filling in the void (although in fairness the original vocals are also screamed). It’s not as dynamic or exciting as “Astronomy Domine,” but it’s still a cool cover.  “The Lost Machine” starts off heavy with Away’s double cymbal work (a noisy splash and a fast ride cymbal). Then Piggy’s guitars have a slight delay on them which makes the opening chords sound especially odd.  The bridge is a place for Piggy to show off some more weird spacey chords and some very cool guitar riffs. There’s even a spoken word narrator in the middle of the song that explains the “mission” “Time Warp” opens with a very bright and up beat sounding verse.  But it quickly disintegrates into (intentional) musical chaos as the narrator gets lost in space.

This all leads up to the 17 minute “Jack Luminous.”  If anyone doubted their prog rock leanings, this should dispel that immediate.  17 minutes, multiple parts, a sci-fi epic, it is prog (but heavy prog) at its finest.  There are some incredibly catchy parts as well as some less catchy parts, and sections seem to change every two minutes or so.  The slow down at 10 minutes is very cool—different guitar effects and the suspenseful bass line.  There’s repeated sections as well, which means if you like some guitar line (the spacey part near the end) it comes back!  It’s not quite as dynamic as say 2112, but it’s a very successful sci-fi epic.

“Wrong Way Street” returns to the normal and more conventional.  The bass that opens the song sounds great and the chords are fairly conventional–the chorus is even really catchy.  “We Are Not Alone” is a break-neck metal song, The drums are super fast, the guitars are relentless and the chorus even has an echoed “Hey!” that gets you to sing along.  The song also features a cool slow, almost jazzy bass and drum section that lets Piggy throw some soloing in before returning to the fast paced verses.

There’s lots of theories about what happened to Voivod after this album.  The success they had achieved earlier was now gone and the band seemed like they couldn’t decide to be metal or prog or is they should go for more pop music.  The problem of course is that they were too weird to get mainstream acceptance anyway.

So Snake left and then there were only two original members.  The next step would be a drastic one.

[READ: July 9, 2013] Grantland #7

This issue seemed to come hot on the heels of #6.  But I enjoyed it just as much.  A few notes: no Jeremy Lin in this issue.  Lots of LeBron James, three articles about soccer!  And a few pop culture moments that I had forgotten about.

REMBERT BROWNE AND DUSTIN PARKER-“The Jeopardy! Teen Tournament JUST. GOT. REAL.
Leonard Cooper didn’t know the final Jeopardy answer but he still won and he made a hilarious joke at the end (in cartoon format);

BILL SIMMONS-“Daring to Ask the PED Question”
Simmons talks a lot about PED’s in this forum.  Of course, to me PED is my initials.  For him (and sports fans) it is performance enhancing drugs.  He asks why sports doesn’t do more about it.  There are so many people who do it that every time we see someone who might be doing it or who suddenly has a good season, we assume they are doing them too.  It would be a service to the players and the fans to have rigorous testing or none at all.

CHRIS RYAN AND ROBERT MAYS-“The NFL Coaches Family Portrait By the Numbers”
A silly analysis of a photo of NFL coaches.

WESLEY MORRIS-“Jodie Foster’s Big Night”
What exactly did Jodie Foster say at the Golden Globes? (This was in January and everybody talked about it and now it’s September and I’ve completely forgotten about it—funny ephemera of pop culture).

JONATHAN ABRAMS-“Out of Africa”
A serious look at trying to bring basketball to Africa. How the culture and language problems make it very difficult to establish any real cohesion in the diverse country.  But there are a few examples of boys coming from Africa and benefiting from host families and then heading back to help those who love basketball back home.  The main focus is on a 15-year-old Alexis Wangmene who came to the States (and left his family!) to try to gain an education and basketball skills.  It’s a heartfelt story.

MOLLY LAMBERT-“Modern Love”
About the show Catfish which just goes to show we can sink even lower as a culture.

CHUCK KLOSTERMAN-“Mental Health Protocol”
About Royce White again.  Last time there was a lengthy look at him.  Now we get to hear that he thinks that everyone has some kind of mental health issue.

ANDY GREENWALD-“Eat Bray Love”
How cooking shows have gone from educational to crazy and annoying. He dislikes Top Chef and the new Anthony Bourdain show The Taste (which he says is awful) but he likes a decent show called Chopped.

ZACH LOWE-“The Fragile Science of Basketball Chemistry”
Sure the Heat were great this year, but it’s the way they evolved as a team, creating chemistry, that is so impressive.

RAFE BARTHOLOMEW-“The Pariah”
Timothy Bradley beat Manny Pacquiao in a disputed judges call.  Instead of rising to fame, he has been avoided like the plague.

BILL SIMMONS-“The All-Manti Te’o Mailbag
Remember that crazy story about the football guy with the dead girlfriend who turned out to be fake?  I never really understood the story and while they spend a lot of time talking and theorizing about it I still don’t get it.  Did they ever find out the truth about it?

CHRIS BROWN-“Speak My Language”
When you play for the Patriots, you learn their way of doing things—it is simple and efficient, a streamlined version of what other coaches try to do.

KIRK GOLDSBERRY-“The Evolution of LeBron James”
Using diagrams, we see how much of a different player James is in just the last few years with The Heat.  This article has made me want to watch James in a game while he is at his peak.  So, Heat vs Bulls at the end of October, you’re on my schedule.

SEAN McINDOE-“The Non-Hater’s Guide to the NHL”
Even people who hate everyone in the NHL (which is everyone) can agree that there are some players who are universally admired: Martin Brodeur, Pavel Satsyuk. Teemu Selanne, Jarome Iginla, Jonathan Toews, Martin St. Louis, Gabriel Landeskog, Patrick Elias (Devils get two!), Ryan Smyth, Steve Sullivan, Saku Koivu, Henrik Lundqvist.

ALEX PAPPADEMAS-“God Needs a Hobby”
A look at Dan Harmon and his podcast Harmontown.  Harmon seems like he might be a crazy alcoholic, but he’s also pretty darn funny.

MARK TITUS-“Duke’s Ignominious Son”
Everybody hates Christian Laettner, but that’s only because he’s pretty and he made The Shot

MARK LISANTI-“Three Days in Austin”
Dealing with the craziness of the South by Southwest film festival.  Sounds awful.

HUA HSU-“The Alien Has Landed”
Soccer legend Ronaldo returns to Old Trafford

BILL SIMMONS-“The Greatest Action Franchise That Ever Was”
Live blogging the Fast and Furious 6 trailer.  I admit I may have to see these films after reading this.

ZACH LOWE-“Lights, Camera, Revolution”
There’s some kind of new technology that will change the NBA forever.  I pretty much don’t care.

TESS LYNCH-“Nostalgia Bites”
Watching old Real World episodes shows how much things have changed in reality TV, but also how much certain behaviors are not new.

BRIAN PHILLIPS-“Maradona, Then and Now”
Maradona was an amazing kid—at 15 he was remarkable at his ball control.  Now at 52 he’s a crazy loon. What exactly happened in between?

ANDY GREENWALD-“From Big to Small, From Movie to TV”
Why not make Men in Black into a TV show—with some other film recommendations.

AMOS BARSHAD-“How Soccer Explains Israel”
I didn’t expect to enjoy this but I found it very interesting.  An Israeli soccer team has signed two Muslim players and it has caused incredible animosity and even arson.  How this look at a team is like a microcosm of the whole Israeli situation.

LOUISA THOMS-“Back to School”
Missy Franklin won a  ton of medals in the Olympics.  And then she went back to high school.  What’s it like to be on her team at Regis Jesuit?

WESLEY MORRIS-“Run, Frank, Run”
Frank Ocean apparently wasn’t as huge as I thought he was.

MALCOLM GLADWELL AND CHUCK KLOSTERMAN–“The Lies He Told”
More about Manti Te’o. This discussion was a bit more helpful about what happened and how crazy it is.

CHRIS RYAN AND REMBERT BROWNE-“A List of Possible Reasons for Rob Gronkowski’s Arm Infection”
Hypothetical humor.

JORDAN CONN-“The Invisible Man”
Marc Gasol is extremely respected by scouts and agents, but the fans all think of him as Pau Gasol’s chubby little brother.

REMBERT BROWNE-“French Quarter Lessons”
While in New Orleans for the Super Bowl, Browne decided to go to a bunch of used bookstores.  This is very funny and enjoyable.

JAY CASPIAN KANG-“Fiercely Disputed”
Mike Tyson’s one man show is weird and strangely affecting.

KATIE BAKER-“Do Svidanya to All That”
Several NHL players went to Russia’s KHL during the lockout.  And some don’t want to come back.

CHRIS RYAN-“The All-Star Circus”
NBA All-Star weekend is a crazy circus (and sounds worse than the above SXSW festival).

CHUCK KLOSETRMAN AND ALEX PAPPADEMAS-“The Nobituary”
There was a serious rumor that David Bowie was on death’s door.  Klosterman and Pappademas imagine writing his obituary.

DAVID SHOEMAKER-“Glenn Beck vs. WWE”
The WWE has always had racists as part of the act.  What happens when some goons start acting like the Tea Party?

DAVID JACOBY-“The Pure Heart Meets The Bachelor
Jacoby’s grandmother watches The Bachelor and he feels badly for her.

STEVEN HYDEN-“Is This It?”
The Strokes’ fifth album had just come out [really?].  It could be their last, but Hyden thinks their last two have been quite good.

BILL SIMMONS-“The Heat in Hindsight”
The Miami Heat came close to breaking the longest winning streak in the NBA.  Simmons looks at the fallout and who “wins” and “loses” in the effort.

CHARLES P. PIERCE-“Bleu, Blanc et Rouge
I had no idea that Charlie Pierce was a Canadiens fan!

KATIE BAKER-“The Ethics of a Family Plan”
Is it ethical to pretend that you are married to your roommate to get a family discount a ta gym?  Hell yes.

EMILY YOSHIDA-“A Dark Force”
J.J. Abrams is going to direct the next Star Wars films.  Why, when sci-fi is so multifaceted and so different is everything coming down to J.J. Abrams?

SEAN FENNESSEY-“The Case Against Justin Timberlake”
Timberlakes’s previous album was amazing.  Then he took years off to make (bad) film and (good) TV.  His star would only continue to rise if he stopped making music and only hinted that he would make another album.  But the release of his new album (which isn’t that good) can only hurt him.

BRYAN CURTIS-“Waiting for Bettman”
While many New Yorker’s didn’t care about the NHL strike, Canadian writers camped out waiting for Bettman to announce the strike was over.

WESLEY MORRIS-“30 Rock Landed on Us”
30 Rock was many things, but it dealt with racial issues (at least between blacks and whites) better than any show.

RANY JAZAYERLI-“Fall of the Evil Empire”
The New York Yankees look like they won’t make the playoff this year (this was written in March and as of my writing this they have a slim chance at getting the wild card slot).  It will be the firs time in a while, perhaps, just perhaps, it’s the start of a new drought for the Evil Empire.

BILL BARNWELL-“The Master Raven”
Ozzie Davis knows how to pick players for the Baltimore Ravens.

REMBERT BROWNE AND DUSTIN PARKER-The Best Chappelle’s Show Sketches of All Time”
Done as a series of cartoons (by Parker); Browne picks his eight favorites:

  1. Charlie Murphy’s True Hollywood Stories: Prince
  2. Wayne Brady’s Show
  3. Charlie Murphy’s True Hollywood Stories: Rick James
  4. Black Bush (especially now that Obama is president)
  5. Clayton Bigsby: Black White Supremacist
  6. Making the Band (P. Diddy)
  7. The Racial Draft (Tiger Woods Now 100% Black)
  8. The Niggar Family (uncomfortable and hilarious no matter how many times you watch it).

Once again, there’s another great issue of Grantland.  Once again, I wish they would follow up on some of their speculative stories.  But it’s fun to have a time capsule of events that occurred just a few months ago and yet which I have totally forgotten about.

And here’s the cover of The Outer Limits in non 3D style (which I haven’t see before)

voivodouter2

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sailorSOUNDTRACK: VOIVOD-Angel Rat (1991).

angelSo if you’re Voivod and you have just released a prog rock metal masterpiece, what’s your next step?  Hire Terry Brown, famed producer of the early Rush catalog!  And then try to go somewhat more commercial.  And name your new, commercial album… Angel Rat?

Oh but then—never a good sign—after recording the album, original bassist Blacky left the band.  It’s hard to find out exactly why (personal reasons) but he then went on to form The Holy Body Tattoo Dance Society and to create electroacoustic music.

When this album came out I was very disappointed in it—it is so far from the angular prog rock of Nothingface that I assumed the band had utterly sold out.  I mean, there’s ballad moments on it, there’s hardly any dissonant chords, and most of the songs are simply verse bridge chorus.  The band sounds a lot more commercial (sadly for them, the album tanked).  Listening to it now with fresh ears it actually reminds me a lot of Blue Öyster Cult, especially with Snake’s vocals and the chord structures that Piggy presents.  And since they used Terry Brown  there’s a Rush element as well.  Once I divorce the album from what came before I actually like the album quite a bit.  The songs are remarkably simple (I feel like Piggy could have been playing all the parts himself at the same time), but there’s still enough interesting weirdness that the songs don’t sound boring.  And once you get used to the overproduction and the fact that Snake can sing, there’s some really good stuff here.  Conventional but good.

It starts out pretty heavy with a chugging guitar but soon you notice that Snake is actually singing…nicely.  His voice sounds polished and good.  And then you notice that the guitars are fairly conventional—there’s almost no dissonance. True it is still heavy metal and there’s some slightly obscure chords, but for the most part it’s not all that weird.  Even the guitar solo is a fairly conventional speedy solo. And when the chorus comes in it’s actually quite pretty.  Speaking of pretty, the band photo is one of the more glammed up moments in Voivod’s career and, without being unfair, they are not a terribly pretty band, so this is kind of a funny picture.

“Clouds in My House” is also quite a pretty song, although admittedly the verses are a little dark (with that squeaking guitar solo sound that was popular around that time in heavy metal).  But the chorus is downright upbeat.  There’s a cool section in the middle with a noisy (but very simple) bass popping and a guitar solo over the top of it—it reminds me a lot of Rush in sound).  “The Prow” is the catchiest thing that Voivod has ever done—great sing-along verses and a big chorus.  “Best Regards” has more BÖC simiarlies—the chorus in particular has a very BÖC structure.  There’s also a some great bass on it.  Again, not the complicated bass of previous album, but a great rumbling sound that works very well as a riff while Piggy solos.  “Twin Dummy” is another fast song. This one features some of the stranger lyrics on the album.  Away says that he backed off on some of the concepts for this album and let Snake so his own thing.  So this song seems to be about ventriloquist dummies with the strange opening lyric “Dummy says…”  But the music is fast and furious here—some weird chords and really fast bass.  There’s also some keyboards on this track (pipe organ type sounds) that reminds me of Rush from around this period.

Title track “Angel Rat” sees Snake crooning over a very simple guitar ballad intro.  It’s almost unthinkable.  And yet the band keeps it interesting—especially Blacky’s bass.  Again, I don’t know why he left, but his bass is featured nicely on this album anyhow.  Blacky opens “Golem” with a powerful (but again simple) bass.  There’s an occasional funky note, but it’s a very staccato song. The drums have a strangely pop quality (the way he fills in the gaps).  It’s a little unsettling how obvious and catchy it is.  And even more unsettling is the solo—which has a very jazz feel.  I can’t even really tell what’s going on—is that Piggy or a keyboard?  “The Outcast” has probably the most conventional early 90s metal sound (except…is that a harmonica?)  Snake even does a falsetto at the end of a verse!  Probably the biggest surprise is that the final lines are “everything’s gonna work out.”

“Nuage Fractal” at least has a very Voivod title.  And the chorus sounds a lot like recent Voivod (except for the solo section).  The biggest surprise has to be “Freedoom” which opens with a very pretty guitar ballad sequence.  Something that early Voivod would have stomped all over.  Snake is whisper-singing and Piggy is playing gently for two whole minutes.  Interestingly, once the full band kicks in for the last two minutes, it is one of the heaviest sections on the album.  So even when they’re being conventional, they can’t do it for too long.  The bass in particular sounds very Geddy Lee to me on this track.  The final song “None of the Above” Is another political song—this one about global destruction.  The music is surprisingly upbeat for such a topic, but Blacky’s bass is wonderfully deep and rumbling here.

So yes, ever the chameleons, Voivod have made an album that could have sold a lot of copies–except that they’re a little too weird to do so.  But it was a good experiment and resulted in some great songs.

[READ: August 15, 2013] Sailor Twain

Sarah got me this book for Christmas.  I didn’t read it until right now because it’s fun to stretch out Christmas gifts as long as possible.

This book is a lengthy graphic novel from our friends at First Second.  It is complicated and a little confusing (the whole story is a flashback that is sort of explained in the very beginning).  It’s also very beautiful.

Except, I might say, for the main character. The background images and the interstitial pages are really beautiful and detailed.  But the main character is very cartoony–very two-dimensional with a triangle nose and big circular cartoon eyes.  I found this very disconcerting for about a third of the book.  Siegel does manage to make him very expressive and uses the big circle eyes to a good drawing benefit through, but the character just looks so–surprised?–all the time that it was hard to not notice him.  Of course later on his big eyes come in handy during the darker sequences, but I still found it an odd choice.  So too were the really cartoony choices of some of the other main characters–very big, comical noses or fat round faces.  It certainly made the characters distinctive, but as I said, I was unsettled by it.

As the story opens, Captain Twain sits in a bar and is approached by Miss Camomille.  She asks to speak to him but he says he wants nothing to do with her or his past.  She holds out a necklace and says he can have it if he tells her the story.  He is shocked to see it and reluctantly agrees. (more…)

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yitaSOUNDTRACK: WXPN (88.5 Philadelphia) xpnand wxpn.org online-Prog rock Marathon (2012-??).

Every January, Dan Reed plays a prog rock marathon on WXPN.  This year I was able to enjoy portions of it.  I rather wish the playlist was still available (you can search, but only by artist), because I’d love to rave about the tracks they played (like the live “Supper’s Ready.”)

I was delighted by the great mix of songs they played and (as I learned from reading this book) I was surprised by how many prog artists I didn’t even know.

In 2014 I’ll be listening again and maybe this time I’ll copy the playlist to document what I’ve missed.

[READ: July 7, 2013] Yes is the Answer

This book was sitting on a cart outside of my cube.  I was intrigued by the title (it didn’t have that trippy cover, so I didn’t know what it was).  But “Yes is the Answer” was calling me.  Especially when I looked at the cover and saw that the cover had an excerpt from a William Vollmann story in which the protagonist plays In the Court of the Crimson King (track 5) for Reepah and watches her face as they band went Ahhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh!.

Quoting Vollmann (from The Rifles), playing King Crimson?  What could this book be?   Then I saw the subtitle and I knew I had to read it all.

I’m not going to review these essays because that would be like making a radio edit of a side long track, but I’ll mention the band the author focuses on and any other relevant details. (more…)

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resetSOUNDTRACK: RUSH “Garden Road” and “Fancy Dancer” (from Fifth Order of the Angels) (1974).

I mentioned this bootleg a few years ago, but it has recently been updated to include the missing songs.  (Huzzah!).

So this set from 1974 is pretty great–rocking, noisy, screaming solos–a very heavy show (and the crowd is quite appreciative).

These two songs never made it on any Rush albums.  They were written before Neil joined the band and, when asked, he said they never made it on an album because they were written before he joined the band (bitchy!).  But evidently the songs were quite popular when they toured.

“Fancy Dancer” opens with a staccato riff and lyrics about a woman who leaves him.  The second verse allows Alex to noodle while Geddy is singing (which is why I never really notice the lyrics).  The chorus has some big chords and reminds me in some ways of “Making Memories.”  But mostly this seems like a chance for Alex to solo and solo and solo (and for Neil to play…only a bass drum!  (for a few measures)).  The song is 3:43 and the solo is over a minute and a half.  Although the end has some cool fast short chords that the band would use very effectively on 2112.

“Garden Road” has a faster riff (very bluesy), which is interspersed with some chugga chugga guitars during the vocals.  The chorus is completely unintelligible to me.  “This Garden Road is Whoa!.”

A few other things about this bootleg which I neglected to mention.  The solo in Working Man incorporates some sections of what would become “By-Tor and the Snow Dog.”  And it’s really funny hearing Geddy say, “We’d like to do something from our album.”  It’s pretty amazing how far the band progressed from these rocking beginnings.

Download the whole thing here.

[READ: July 5, 2013] Reset

I recognized Bagge’s name, although I haven’t read his previous books.  I’m sure I’ve seen his work anthologized as his style is very familiar.  His drawings are dark (some might say ugly) and his characters always seem a little pained.

So it’s unsurprising that this book’s protagonist is Guy Krause, a former actor.  (His famous line is hilarious and I love that it is revealed very late in the story and then as a running joke).  He has recently come close to hitting bottom–his upcoming shows have been cancelled and his last resort is a reality show.  And when we first meet him, he is in a drunk driving class.

And that’s where Angela Minor comes in.  She offers Guy a chance to relive his life.  He’s obviously skeptical until she explains that it is a virtual experience.  They hook him up to a machine and he gets to try to change the virtual past.  This is all an experiment in seeing how people react to being able to change things that they fixate on.  It turns out the scientists have all kinds of information on him (because he is a celebrity) so it’s not a coincidence that they found him.

Guy balks.  Until she tells him how much they’ll pay him to do it.  Then he’s in. (more…)

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peach6SOUNDTRACK: FOO FIGHTERS “Overture” (Rock and Roll Hall of Fame, 2013).

ffhofOn April 19th, Rush was inducted into the Rock and Roll Hall of Fame.  I don’t particularly care about the Hall of Fame, but I love to see Rush celebrated.

And I love to see Dave Grohl celebrate with people.  So, as only Dave and co. can do, they donned white kimonos and wigs and set out to rock the HoF with a great cover of 2112’s “Overture.”  They didn’t get into “Temples of Syrinx” (I was curious to see if Dave would try that falsetto), but they were joined by the original trio for the end of the song with Geddy stating that the meek shall inherit the earth.

FF do a great job, they sound heavy and they got all of those odd time signatures down right.  Dave does an admirable job with Alex’s challenging solos.  All in all, it was a pleasure to see.  Evidently this will be broadcast officially on May 18, but for now there’s a shaky cam version floating around the web.  I found it on Stereogum.  You can also see Dave Grohl’s very cool induction speech there too (although the picture no longer seems to be on cameltoe.org).

And check out the commitment (even with Tyler’s moustache) and the real set behind him.

ffhof2

[READ: April 21, 2013] “The Tandoor”

An unexpected title for this story in which the tandoor plays a very small role.  The story felt like there could have been a lot more to it, for while there was a lot of backstory and the story did feel complete, I could have read a lot more (which I think is a great complement).  It starts out in a rather mundane fashion with a girl in the backseat of a car being belligerent because her mother took away the iPad (so she could do Sudoku).  The family is driving to Texas to see the Hole.  Before we learn what the Hole is, we learn more about the family.

The husband and wife are fighting (as usual).  The daughter has taken the father’s side because he’s the underdog.

It turns out that the father has opened another restaurant (this is the fifth one, the other four have failed).  It is also not doing very well and the wife resents not only the failing business but also the fact that he has been given money to try five businesses.   She also resents the woman that he husband admitted he lusts after (at least he admitted it in his sleep).  And she seems to have taken that as an invitation to sleep with someone else as well.  (There’s a lot more to it and the details are wonderful). (more…)

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[WATCHED October-November 2012] Metal Evolution

metal evolutionVH1 aired this series last year and I was intrigued by it but figured I had no time to watch an 11 hour series on the history of heavy metal.  Of course, this being VH1, they have since re-aired the series on an almost continual loop.  So, if you’re interested, you can always catch it.

This series was created by Sam Dunn, the documentary filmmaker who made the movie Metal: A Headbanger’s Journey.  I had heard good things about the movie, but never saw it.  After watching the series, I’m definitely interested in the movie.  Dunn is a keener–A Canadian heavy metal fan who is really into his subject.  He knows his stuff and he knows what he likes (heavy metal) and what he doesn’t like (glam metal, nu metal).

The sheer number of people he interviews is impressive (as are the number of locations he travels to).  Part of me says “wow, I can’t believe he was able to interview X,” and then I remember, “X is really old and is nowhere near the level of fame that he once had.”  Given that, the few hold-outs seem surprising–did they not want to have anything to do with VH1?  Are they embarrassed at how uncool they are now?  Just watch the show guys, you can’t be as low as some.

The only mild criticism I have is that the show relies a lot on the same talking heads over and over.  Scott Ian from Anthrax, whom I love, is in every episode.  Indeed, he may be a paid VH1 spokesman at this point.  There are a few other dudes who show up a little more than they warrant, but hey, you use what you got, right?

What is impressive is the volume of music he includes with the show.  I assume that he couldn’t  get the rights to any studio recordings because every clip is live.  This is good for fans in that we get to see some cool unfamiliar live footage, but some of it is current live footage which often doesn’t compare to the heyday.  Having said that, there’s a lot of live footage from the early 80s–of bands that I never saw live anywhere.  And that’s pretty awesome.

With an 11-part documentary there’s the possibility of exhaustion and overkill, but Dunn is an excellent craftsman  he jumps around from old to new, talks about how the history impacts the current and, because of his own interests, he makes it personal rather than just informative. (more…)

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SOUNDTRACKTHE FLAMING LIPS AND STARDEATH AND THE WHITE DWARF WITH HENRY ROLLINS AND PEACHES-“Money” (2011).

I’ve already mentioned this full length album, but how can you not talk about JR without mentioning this song.  (I probably could have dine a post a week about all of the covers of it).

This is one of the most famous songs certainly by Pink Floyd on one of the most popular album s of all time.  So how do you cover it?  You can’t lose the bass line, it’s way too important to the song.

But aside from that the song is pretty different–the vocals are machine tuned almost out of recognizability.  And that’s when you realize that although this is a pretty faithful cover, it’s also a goofy cover.  Not silly, not really disrespectful but not entirely right either (notes are out of tune and flubbed).  It’s very mechanized, as if they are talking about the auto-tuned nature of making hit songs.

  Henry Rollins takes the roll of the random punters ranting at the end of the song, and that’s pretty fun.

The whole thing is kind of  a trifle.  It works better in context of the album because you can understand what the group is doing.  On its own it’s a bit of  shock.

[READ: Week of July 9, 2012] JR Week 4

This week continues where last week left off–in the middle of trying to get Dan to convince Ann to drop the lawsuit against the school (for firing Bast). Whiteback tries to speak for Vern, but Vern will have none of it–Whiteback, despite being president of the school and the bank, is proving to be more and more of a pushover as the story goes along.

Vern gives his take on the school:

The function of this school is custodial.  It’s here to keep these kids off the streets until the girls are big enough to get pregnant and the boys are old enough to go out and hold up a gas station, it’s strictly custodial and the rest is plumbing.  If these teachers of yours strike just sit still and keep the doors open, by the time these kids have been lying around the house for a week their parents will march the teachers back in at gunpoint (226).

Dan interrupts the proceedings to talk to Whiteback about his mortgage (Vern magnanimously tells Dan to go ahead and conduct personal business during work hours).  Dan’s mortgage is not working out so well because the studs in his house are too far apart–causing it to be less insurable and causing him to pay a lot more. When Whiteback commends Major Hyde’s house for being spectacularly built Dan says that he was surprised to see that Hyde was moving.  Hyde doesn’t know what he’s talking about.  Dan tells him that there was a moving van in his driveway taking all of his things out.  There’s some chaos (and a stolen car) when JR comes in and tells them that Buzzie (who was sent down for possession) has taken off down the hall. (more…)

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SOUNDTRACK: RUSH-“Something for Nothing” (1976).

This song comes from Rush’s 2112 album.  Since I’ve started reading JR, the refrain keeps popping into my head.  People talk of the influence of Ayn Rand on the band at this time and this song fits the bill.  When you think about the themes of most rock songs (carefree sex and partying) the lyrics to this song are totally conservative: “You don’t get something for nothing, you can’t have freedom for free.”  Rush has always been a hard working band, so this attitude makes sense.

And the song also resounds with the capitalists in this story–make your money (and other people’s money) work for you.  “Countless ways you pass the day.”

The song starts quietly but man it rocks hard with some really heavy guitars.  And the solo is intimidatingly noisy.

Oh and as for Rand, “What you own is your own kingdom.”

Of course, there is a little less capitalism as the song ends: “in your head is the answer, let it guide you along, let your heart be the anchor and the beat of your song.”  So, the message is not one of greed, but that to make your dreams come true you have to work for it.  Not bad advice, really.  Unless you were born into money of course.  In which case, never mind.

[READ: Week of July 2, 2012] JR Week 3

My JR posts are proving to be a day late (but not a… nope I won’t say it). It’s not the reading that’s hard it’s finding time to write these up.  So, apologies for those waiting with bated breath.

The week’s section opens with sex, specifically, Polaroids of sex.  Mr Angel, Stella’s husband, gets a call from Coen at the hospital (he got into an accident because of his broken glasses (ha–it was not reckless driving).  Then he starts talking with Terry about sprucing up the place–nice paneling, some plants–she thinks that’s a great idea (and actually buy a plant with her own money later).  They are interrupted by Mr Angel’s worker Leo who presents him with a stack of photos of the same Terry engaging in various graphic sexual positions (the boys in shipping had them).  With multiple men.  And although none of the men work in the office, the pictures are taken in this very office.  Mr Angel suggests that the photos could be doctored, to which Leo replies, “You’d have to have a picture of her eating a cucumber to paste onto this one, that’s some doctor” (151).   Childish but very funny.

Mr Angel goes off to Dayton to deal with some business and we see that quickest passage of time yet in the book.  Most of the book so far has been set in a day or two, but as we stay with the secretaries, several days pass in Mr Angel’ absence.  Terry and Myrna move their things into the same area so they can talk and listen to the radio while they work.  So there’s the gossip and the radio chatter vying for attention (the radio comes in Spanish as well as English) and the scene stays with them over a few days and through weekend.  Although this book doesn’t shy at all from potty humor, I enjoyed this little exchange before he leaves: Mr Angel say that she’s left the letter “s” off the word scrap on one of the documents.  She’s so embarrassed!

Terry also says she has something to tell Mr Angel about Leo…but that never gets said aloud, even when he returns and reminds her. (more…)

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SOUNDTRACK: THE GREAT GAMBLE-Book One (2012).

My friend Matt has worked at a school in Pennsylvania for years. He wrote to tell me that a few kids who graduated from his school had formed a band and have released a CD.  It’s streaming (and downloadable) on bandcamp at their site.

I have lots of friends in bands, and I’ve listened to lots of demos, so I wasn’t expecting very much.  But the first thing I noticed when I listened was how good this sounds–professional and, yes, like a “real” album.  This isn’t just a bunch of guys jamming in their garage.  What makes this even more striking is that the music is heavy progressive metal–not something you just whip out in a quick take.  This is complicated, interesting music.  I’m hearing a kind of Dream Theater meets King’s X vibe going on.  And man, it’s really good.

This is multi-step heavy rock (complete with a synth player/violinist!). The only song that is less than 9 minutes is the 90 second introduction called “The Marketplace.”  Otherwise, we’ve got three songs over ten minutes and one over 16!  Who even knew young bands did stuff like this anymore?

Al Joseph plays lead guitar and sings lead vocals.  His guitar speed is very impressive and his vocals sound not unlike Dug Pinnick from King’s X (noticeable on the opening track, especially) .  Matt Weaver plays violin and keyboards.  The keyboards offer more than just a fuller sound.  On “Release the Kraken” they provide some cool sci-fi sound effects.  At about five minutes in, “Release the Kraken” slows down to a quiet middle section that really showcases Steve Michael’s drums.  And then comes the blistering guitar solo.  It’s followed quickly but a slight diversion and then a wholly different style of solo.  It’s really something.

If “Release the Kraken” wasn’t a good enough prog rock title, how bout “Legends of the Symmetria.”  This one has a very Dream Theater feel for the opening.  But the vocals sound very different–dual vocals with great low harmony.  There’s a cool pre-chorus (I guess) at about 3 minutes.  This song is definitely a heavy one.  At about 4 minutes, the song slows down into a pretty classical guitar section,where Chris Joseph on plays bass gets to show off a bit (although he seems to be the most understated of the 4 players).  There’s some great drumming at the end of the song, too.

“The Ghost of Three Reflections” is a slow builder of a song.  There’s some quiet parts (with beautiful harmonies) and a guitar solo that sounds clear and perfect (I’m hyping the production so much because it sounds so good).  The guitar solo section in this one strikes me as something that might suit two guitarists better–maybe two more different styles of soloing, but he pulls it off well, especially when by the end, he has shifted to a very different style, and the music changes along with it).  I love the bass section at the 8 minute mark, which reminds me of something Rush might have done back in the mid 70s.  The song kind of merges into “Breach At Fort Mycenae” which opens with the same kind of staggered sound as the end of the previous song.  The violin gets an airing in the middle of this song and it’s a cool treat.  I could definitely use more violin in these songs, although maybe little bits are a treat.  There’s a few times when I don’t like the production choices–maybe there needs to be a bit more music behind some of these solos so it doesn’t just sound like two players soloing against each other.

The disc ends with the big one, the sixteen minute, “The Sleepwalker Pt. 1 – Tears of Dagon” [I love that it’s a Part One and it’s 16 minutes long].  When the vocals kick in at about 3 minutes, the harmonies are gorgeous.  I love the bass guitar break at 5 minutes.  Although there’s something about the keyboard sound that I don’t like–maybe they’re not big enough?  But I love the crazy guitar solo at the 9 minute mark of this track (I’m a sucker for dissonant scales).

This is an amazing debut CD and I hope these guys go far (they’re going from Scranton to Boston for school, but I hope they can go further than that).  They are tight as a drum, stopping and starting perfectly, keeping all of the rhythms and time changes perfectly.  They really have done their prog rock homework.  The only gripe is as I’ve said, some sections don’t feel “big” enough.  If you’re going to write a 16 minute song, you don’t want sections that sound small–you want your backing guitars or bass guitars to be a little louder so it sounds like the song is still going.  But other than that, there’s not much room for improvement.

I downloaded their CD, (and yes, I paid for it…that will help with college, eh?).  But my real complaint is that on the computer, the album cover is awesome–if you look at it from an angle, there’s a whole scene behind the large logo (try it, it works here too).  But when you print it out, you lose all of that.  The images are there, but the effect is gone.  This is a band that calls out for full color packaging and maybe even a gatefold sleeve!  (The bottom of the cover says Ο υπνoβάτης which means The Sleepwalker).

Good jobs guys!  You’ve done NEPA proud!

[READ: May 15, 2012] Drop Dead Healthy

Sarah got me this latest A.J. Jacobs book for my birthday.  At first I didn’t think I wanted to read it because I feared what a book all about being in good shape would be—nagging, obnoxious, making me feel bad about my vices. But I should have leaned from all of my A.J. Jacobs experience that he is completely NOT about that.

Jacobs occasionally enters into preposterous forays of Self-Improvement.  In the first book of his I read, The  Guinea Pig Diaries, he tried various weird experiments to see what it was like to be a woman, radically honest, a unitasker, etc.  His other books have been about self-improvement.  He read the encyclopedia from A-Z, he did a year trying to live like out of the bible (I will get to these eventually).  In this book, he is on a quest to be the healthiest person in the world.

It’s an impossible task.  And, frankly, a foolish one.  But he decides he will take two years and focus on individual parts of his body one month at a time.  I’m going say right up front I feared that this book would make me feel bad about all the things I don’t do for myself.   But well, a) Jacobs is a funny writer, so at least you’re laughing.  b) Jacobs is either in bad shape or plays up his badshapedness so that the average person doesn’t feel too bad off.  c) He is so over the top in his quest that no one would ever think about doing all of the things, but we can take what he learned and apply little bits to ourselves.  What is nice is that he tries to get two if not balanced opinions then perhaps fringe opinions to balance out–trying one extreme then another to see which work.

He Breaks His Categories Down thusly: stomach (eating right, the perfect food), the heart, the ears (the quest for quiet), the butt (avoiding sitting too much), the immune system (germs), genitals, nervous system, lower intestine (better bowels), adrenal gland (lowering stress), brain, endocrine system (removing toxins), teeth, feet, lungs, skin, inside of the eyelid (sleep), bladder, gonads, nose, hands, back, eyes, and skull.  Each category is designed to be a month-long workout of that organ/item–some things he keeps doing after the month is over making his workout regime something like 5 hours a day.  And at the beginning of each month he lists the stats for what he accomplished.

I’m not going to talk about all of his body parts, but I will mention a few that i enjoyed the most. (more…)

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SOUNDTRACK: RUSH on Archer (2011-2012).

Not really a soundtrack, but I wanted to mention some of the Rush references in Archer.

I was really hoping to use the Rush in Cleveland DVD as my Soundtrack, but I haven’t finished it yet.  And yes, I am padding this out a bit so that the pictures fit nicely.

Cobra Cobra Cobra (that’s a joke to the book below).

The Archer guys like Rush and they put nods to Rush in occasional episodes–usually through mad-scientist (I want to call him The Professor), Krieger.  Here’s three of Krieger’s vans.

I love the detail that went into “Vanispheres.”  Since Krieger always wears a lab coat, it’s a wonderful detail to have him wearing it as the nude man.  And, of course to have him as both the nude man and the clothed man is perfect.

Since it’s my favorite obscure Rush album, the Caress of Krieger van just cracks me up the most.

And just to add to the fun here’s a video of Krieger’s Neil Peart-like drum set

It’s pronounced “Why Why Zed.”

[READ:May 9, 2012] How to Archer

Although the Archie Meets Kiss comic proved to not be the joy I’d hoped, How to Archer easily made up for it.  I love Archer, it is one of my top ten shows ever, I think.  And this book is basically a print version of the show.

It’s designed as a how-to manual written by Sterling Archer himself.  He gives you tips on how to become the world’s best secret agent.  He teaches you how to dress (the details about buying shoes are amazing), how to drink (he provides cocktail recipes and his own opinion of subpar drinks), how to eat (a recipe for Eggs Woodhouse that sounds divine) and even a secret to gambling!

The fact that Archer is an abrasive, cocky, sexist, racist dick only makes the book that much funnier.

If you haven’t seen Archer (on FX), it’s a cartoon about a spy.  His mother, Malory, owns the spy agency and they have a very contentious relationship.  (The fact that his full name is Sterling Malory Archer should be just one clue to that).  Malory gets the introduction to the book, which is pretty darn funny as well. (more…)

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