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Archive for the ‘Slayer’ Category

SOUNDTRACK: PHOEBE BRIDGERS WORLD TOUR (May 26-June 4, 2010).

Phoebe Bridgers is a fascinating person.  She sings the most delicate songs.  Her voice is soft and almost inaudible. Her music is simple but pretty.  And her lyrics are (often) devastatingly powerful.

And yet she is really quite funny.  Both in interviews and in her visual representation of herself.

Her logo when I saw her was a fascinating faux death metal style of her name.  And now with this world tour, you can see in the poster all of the metal bands referenced in the logos. (There’s Slayer in the kitchen for instance).

And then there’s the basic joke of this world tour.  No one can go anywhere, so she is travelling her world: kitchen, bathroom, and bedroom (second concert by popular demand??)

The first show last night raised money for Downtown Women’s Center.

After some introductory talking and even a magic show (!) from Ethan, her producer, she played five songs.  Midway through she agrees that the set was a bit of a downer, especially opening with these two sad songs.

“Scott Street”
“Funeral”

Then it was time for two new songs (and an electric guitar).

“Moon Song”
“I See You”

Before coming to the end, she delayed, because she was having so much fun (and raising so much money).  So she showed us around her kitchen and pitched the kind of guitar she was playing, the kind of capo (quite expensive!), and her Target-purchased kitchen ware.  

She ended the set with a boygenius song, “Me and My Dog ” dedicated to her dog Max who died at the age of 17 last year.

The first night of her tour was a success. Tonight is night two, from the bathroom.

You’ll laugh, you’ll cry.  You can watch it here.

[READ: May 27, 2020] “California Ghosts”

I don’t usually read profiles of artists I like.  But every once in a while, one strikes me as interesting.

Phoebe Bridgers is a pretty fascinating character (see the above part for some details).  So I though this might be an interesting profile.  And it was.

Bridgers was brought up in Laurel Canyon and came of age listening to emo.  I love that the writer has to define emo for the New Yorker crowd, “a sub-genre of punk focused on disclosure and catharsis.”  That’s probably the most concise definition of emo I have read.

She writes that Conor Oberst (of Bright Eyes) is one of emo’s most beloved practitioners.  Phoebe grew up listening to him and then met him in 2016.  He says when he first heard her he felt like he was reuniting with an old friend.  In 2018 they made Better Oblivion Community Center together.

At Carnegie Hall (where she wore a tea-length black dress and high to Doc Martens), she sang a song with Matt Berninger of The National. (more…)

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SOUNDTRACK: DANKO JONES-Garage Rock! A Collection of Lost Songs From 1996-1998 (2014).

Danko Jones has released nine albums an a bunch of EPs.  Back in 2014 he released this collection of songs that he wrote and recorded before his first proper single (1998).

This is a collection of raw songs, but the essential elements of Danko are in place. Mostly fast guitars, simple, catchy riffs and Danko’s gruff voice, filled with braggadocio.  With a cover by Peter Bagge!

He describes it:

Back in the 90’s,the Garage Rock scene, as I knew it, was a warts-and-all approach that favoured low-fi recordings and rudimentary playing over any modicum of musical prowess in order to glean some Rock N’ Roll essence. However, once a band got better at their instruments, songwriting and stage performance, the inevitable crossroads would eventually appear. Deliberately continuing to play against their growing skill would only evolve into a pose. There were a lot of bands who did exactly this in order to sustain scenester favour. We did the opposite.

What you hold in your hands is a document of what we were and where we came from. We didn’t know how to write songs and could barely play but we wanted to be near to the music we loved so badly. We ate, slept and drank this music. We still do. That’s why we have never had to reunite because we’ve never broken up. After 18 years, we’ve stayed the course, got tough when the going did and, above all else, we have never stopped. This album is the proof.

The first two songs are the best quality, with the rest slowly deteriorating with more tape hiss.

1. “Who Got It?” a big fat bass sound with lots of mentioning of Danko Jones in the lyrics. [2 minutes]
2. “Make You Mine” is 90 seconds long.  With big loud chords and rumbling bass Danko says “one day I’m going to write a book and let everybody know how to do it.  Seems to me there a lot of people around who want to see if I can prove it.  I been a rock prodigy since the age of 20 and my proof… my proof is right now.”
3. “I’m Your Man” is a bit longer.  The quality isn’t as good but the raw bass sound is great.
4. “She’s Got A Bomb” is good early Danko strutting music.
5. “Rock And Roll Is Black And Blue.”  He would name an album this many years later.  This song is fast and raw and only 90 seconds long.
6. “Dirty Mind Too” This is a fast stomping one-two-three song that rocks for less than a minute.
7. I’m Drinking Alcohol? This is funny because later he says he doesn’t drink.  I don’t know what the words are but the music is great–rumbling bass and feedbacky guitars with lots of screaming.
8. “Love Travel Demo” and 9. “Bounce Demo” are decent demo recordings.  “Bounce” has what might be his first guitar solo.
10. Sexual Interlude” “ladies it’s time to take a chance on a real man.  I’m sick and tired of seeing you women selling yourselves short, going out with a lesser man.
11. “I Stand Accused” Unexpectedly he stands accused of “loving you to much.  If that’s a crime, then I’m guilty.”
12. “Best Good Looking Girl In Town” a fast chugging riff, “oh mama you sure look fine.”
13. “Payback” This one sounds really rough but it totally rocks.
14. “Lowdown” Danko gives the lowdown: “You want a bit of romance?  I got you an bouquet of Flowers and a box of chocolates.  Why you crying for?  That ain’t enough?  Me and the fellas wrote this song just for you.”
15. “One Night Stand” garage swinging sound: Danko is a one woman man and you’re just his type.
16. “Instrumental” is great.
17. “Move On” is a long, slow long bluesy track about love.

It’s not a great introduction to Danko, but if you like him, you won;t be disappointed by this early baby-Danko period.

[READ: August 10, 2019] I’ve Got Something to Say

In the introduction (after the foreword by Duff McKagan), Jones introduces himself not as a writer but as a hack.  He also acknowledges that having something to say doesn’t mean much.  He has too many opinions on music and needed to get them out or his insides would explode.  He acknowledges that obsessing over the minutiae of bands is a waste of time, “but goddammit, it’s a ton of fun.”

So this collection collects some of Danko’s writing over the last dozen or so years. He’s written for many publications, some regularly.  Most of these pieces are a couple of pages.  And pretty much all of them will have you laughing (if you enjoy opinionated music writers).

“Vibing for Thin Lizzy” [Rock Hard magazine, March 2015]
Danko says he was lured into rock music by the theatrics of KISS, Crue and WASP.  But then he really got into the music while his friends seemed to move on.  Thin Lizzy bridged the gap by providing substance without losing its sheen or bite.  And Phil Lynott was a mixed race bassist and singer who didn’t look like the quintessential rock star.  What more could Danko ask for? (more…)

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[ATTENDED: October 25, 2019] Ghost

A few years ago Ghost had just popped on my radar when I saw that they were playing the Fillmore in Philly.  I didn’t go, but a friend of mine took his son and said the show was outstanding.

Before getting tickets for Starset, I had bought tickets for C. and I to see Ghost.  I had heard that their live shows were tremendous and I was pretty excited to bring him to a show like this.  When I looked for tickets, I knew we wouldn’t want GA Floor, but I didn’t know if we should go straight back or close to the stage on the side.  I chose close to the stage and I was pretty happy with the location although C. thought it would be better straight on.

I had no idea we’d be going to see two concerts in two nights.  But it was fun for him to compare the two styles of venue–club vs. arena.

Starset has a backstory and Ghost has a backstory too.  Ghost’s story is pretty fascinating.

But before getting to that I have to say that this show was spectacular.  Holy cow was it fun–the band was fantastic.  The stage set was incredible and Cardinal Copia was an amazing front man.

Now, onto the story of Ghost. (more…)

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[ATTENDED: May 24, 2019] Slayer

I have been a fan of Slayer since their debut album, Show No Mercy.  I was a major metal head in high school, always searching for heavier and heavier music.  Metallica was great but then came Slayer.   I more or less stopped listening to them after college.  Although in 2001 (with the release of God Hates Us All on 9/11) I reintroduced myself to their newer stuff.  And since then I have been checking out each release.

Their final album, Repentless, came in 2015 and they have been touring it ever since.  This is–and I assume it’s true–their Farewell tour.

They’ve had a remarkably stable line-up over nearly 40 years.  Drummer Dave Lombardo left and then came back and then left again.  I would have loved to see Slayer with Lombardo, but I was able to see him (and actually see him) when he played with Dead Cross (I was five feet from the stage).  I would never have actually seen him with Slayer (so much stuff on stage.  I never saw Paul Bostaph behind the kit).

The only other line up change came when guitarist Jeff Hanneman died.  That was pretty major, since Hanneman co-wrote so many of the songs.  But Exodus guitarist Gary Holt filled in and has been in his place for six years (he recorded Repentless).  Holt has a different playing style (his solos are more structured), but he comes from the same heavy, dense guitar background and fits in just fine.

I had actually been intimated about going to a Slayer show, especially as an adult.  I have seen my fair share of metal shows, but I assumed the Slayer audience would be a step more intense.  Just waiting online was intimidating with every other person shouting “SLAYER!” at the top of his lungs.

I finally decided to see them in 2017 at The Electric Factory, but when I called on the night of the show to secure my ticket it had literally just sold out.  So I figured I’d never see them live.

Then they announced this farewell tour.  It was going to be at an arena (which would be less insane than a club, in terms of fan behavior) and I was able to get decent seats.  [This show was better than that one for setlist, and I have to assume pyro as well]. (more…)

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[ATTENDED: May 24, 2019] Lamb of God

I had an idea of what Cannibal Corpse and Amon Amarth were all about before this show, but Lamb of God proved to be elusive to me.  Not that it was hard to figure out they played heavy music. but i didn’t know if they had an “angle.”

I had read that they were in the mold of Slayer and the song or two that I listened to before the show bore that out.

I had no idea they were going to be quite so intense of that singer Randy Blythe would have so much freaking energy.

By this time in the night, the crowd was pretty full.  The pit was writhing and the lights were in full use.  Lamb of God came out with a bang and a lot of red and blue lights (the hardest to photograph).

I was in front of lead guitarist Mark Morton, who was fun to watch.  And I really enjoyed seeing bassist John Campbell and his long grey beard (he never got close enough for a clear picture).  Rhythm guitarist Willie Adler did come over to our side once or twice, but he was hard to get a picture of.  And of course, excellent drummer Chris Adler was behind the kit most of the time and therefore invisible. (more…)

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[ATTENDED: May 24, 2019] Amon Amarth

I was aware of Amon Amarth but really didn’t know anything about them.  I had no idea that they were Vikings from Sweden!  Or that their name came from J.R.R. Tolkien (but I should have guessed that).

I had left the seats after Cannibal Corpse and when I came back, there was a ship on the stage!  And the backdrop had been replaced by this giant warrior dude.

I had listened to Amon Amarth a few days before the show, so I had an idea of what they were about–heavy riffs and lots of chanting.  Lead singer Johan Hegg was something of a growler, but the lyrics were pretty audible.  They were quite different from Cannibal Corpse.

First out was drummer Jocke Wallgren (they’ve had a lot of drummers since they formed in 1992).  Then the rest of the band followed.

Finally singer Johan Hegg came out with a horn on his belt and a swagger in his walk. (more…)

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[ATTENDED: May 24, 2019] Cannibal Corpse

Cannibal Corpse formed in 1988 in Florida.

At the time they were probably the most notoriously revolting band around–taking the violent images in metal songs to a far extreme.  Although perhaps most amusingly, without scanning the lyric sheet I don’t know how anyone could tell what the words are.

Cannibal Corpse are pretty legendary.  They have been banned in many countries. I have never specifically wanted to see them, but I always thought it would be interesting.  In fact, when they announced a show at White Eagle Hall at the end of last year, I briefly considered going.  But I’m glad I didn’t because a little Cannibal Corpse goes a long way (They played 18 songs at White Eagle Hall (!)).

Cannibal Corpse is pretty much a wall of noise.  Although I must admit just how well they were projected, because despite them being superbly loud, I could hear each guitar, the intense drums and the vocals (if not the words) pretty distinctly–even if they are a series of growsl)

The biggest surprise for me was that their songs were quite long.  I associate super fast death metal with short bursts of aggression.  Napalm Death for instance has songs that are about a minute long.  But most Cannibal Corpse songs run to four minutes or more.  That’s some lengthy intensity, especially for the speed of the drums and the massive intensity of Corpsegrinder’s headbanging.

One of the funnest things to say about Cannibal Corpse is that they are in Ace Ventura Pet Detective (1994).  Soon after that (but apparently unrelated), lead singer Chris Barnes left and was replaced by current singer George “Corpsegrinder” Fisher.  There hasn’t been very much change in the lineup for the thirty or so years they’ve been playing.  Although in December 2018, lead guitarist Pat O’Brien was arrested for assault and battery and Morbid Angel guitarist Erik Rutan would fill in.

It’s amusing seeing a band like Cannibal Corpse in the bright sun–I couldn’t imagine sitting in the lawn for them.  But it was early evening and very bright out (which meant good photos!).

But they obviously weren’t bothered by it because they came out on stage and created a noise that made me put earplugs in and not take them out all night.

I didn’t know any of their songs (although I had heard of “Hammer Smashed Face”), I didn’t even know they had FOURTEEN albums out!  So, to pick six songs for this tour must have been a challenge.

They played one song from their most recent album–2017’s Red Before Black (the least offensive or violent seeming title in their discography).  They skipped the previous album and then played one each from the two before that.

Corpsegrinder is known for his headbanging (in which he whips his head around in a circle rather than the old-school back and forth motion).  He told the audience that he would challenge anyone to a headbanging contest.  “You will lose.  And that’s okay.”

I was delighted by how deadpan amusing he was.

Even introducing the song “I Cum Blood,” he said, “this is a song about shooting blood from your cock….  it’s sounds fun… until it happens to you.”

That song as well as “Hammer Smashed Face” comes from their 1992 album, Tomb of the Mutilated.  They had two albums out before that.

Honestly, I couldn’t really tell any of the songs apart, but there were definitely sections to the songs.  These were mostly distinguishable by drummer Paul Mazurkiewicz’s amazing playing (he’s been with the band since the beginning, as has Alex Webster on bass).  Although his playing choices are somewhat limited in this style of music his energy never flagged during his double bass pounding or straight up snare slamming.

I’m glad their set was only about 30 minutes.  It was plenty.  And honestly they didn’t do anything outrageous, like I thought they might.  Maybe if they headline?  Or maybe they’re not Gwar, they just play fast and loud and do a lot of headbanging.

SETLIST

  1. Evisceration Plague
  2. Scourge of Iron
  3. Red Before Black ®
  4. I Cum Blood
  5. Stripped, Raped and Strangled ß
  6. Hammer Smashed Face

 

™ = Tomb of the Mutilated (1992)
ß = The Bleeding (1994)
€ = Evisceration Plague (2009)
⊗ = Torture (2012)
® = Red Before Black (2017)

 

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[ATTENDED: May 17, 2018] Kid Koala’s Vinyl Vaudeville

I have been a fan of Kid Koala since the early 2000s.  He’s not a DJ so much as a magician on the turntable.  He is able to make vinyl do amazing things.  His hands are fast, his timing is impeccable and he uses puppets too!

But I had no idea that his live show would be so much fun.  I mean, sure it was called Vinyl Vaudeville, but could it live up to his calling it “the silliest show on earth?”  Well, I dispute the silliness aspect because silly implies that it’s not also awesome, which this definitely was.

So what exactly does a turntablist do so it’s not just a guy scratching records?

Well, primarily he uses props.  Almost every song has a visual element.  In fact the very first song started out in total darkness with a black light and a sloth puppet.  I don’t know what the song was called or if it had anything to do with sloths, but it was fun to watch.   (more…)

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SOUNDTRACK: RODRIGO Y GABRIELA-Live in France (2009).

Nothing can prepare you for a Rod y Gab concert, but listening to a live album can give you some idea of the aural pyrotechnics you’re in for.

To say it is “just ” two guitarists playing acoustic guitar, gives you a very specific picture.  If you say that they are amazing at soloing on their instruments, it gives you another picture.  Neither of which is correct.

Rodrigo plays an incredible fast lead guitar while Gabriela plays the most dynamic percussive rhythm I’ve ever seem (or heard) on her hollow bodied guitar.   When listening live, if Gabriela is not playing the rhythmic style, it’s impossible to know who is playing what,

These songs are not just virtuoso show-off pieces. They have terrific melodies that run through them.  The songs are instantly recognizable as Rod y Gab songs, but you also recognize the individual melodies too (although I’ll be damned if I can keep the names of the songs straight in any way).

If I had a complaint, which isn’t really a complaint, it’s that you can never tell when the songs actually end. They often pause mid-song and then resume after ten to 30 seconds.  Some songs could be 3 minutes but end up nearly 6.  It doesn’t really matter because the songs are great and could all be one long song because it’s terrific, it’s just a little hard to keep track sometimes.

For this CD, they play 7 of 11 tracks from 11:11 and 1 from their self-titled album.

“Hanuman” opens the disc.  After a few minutes, the song builds and Rod plays faster and louder chords and then it all drops away.  When the riff comes back in, that’s pretty awesome.  “Triveni” beings with some really heavy riffing from both of them.  “Chac Mool” is the one major exception to everything else on the disc  It’s one minute long and is  very mellow and quite pretty.  Nothing fancy, just a a nice melody.

“Hora Zero” has a few moments where Rod plays some really fast arpegiaos and the consistency of his playing is remarkable. (There’s also some wah wah on this song which always comes as a surprise).  This is one of those songs that feels like it ends after four minutes, but it still has two minutes to go.  It ends with a nod to Metallica with the ending chords.

“Gabriela Solo” and “Rodrigo Solo” are, as they say, opportunities for us to marvel at their individual skills.  Gab does a lot of percussive stuff, but also shows her chops on the strings.  Rod’s solo throws in a lot of recognizable heavy metal riffs in between his beautiful Spanish guitar playing: three from Metallica and one from Slayer.

“Santo Domingo” is one of my favorite songs.  I love the riff that is in a different time signature at the end of each “verse.”  There’s some wonderful percussion from Gab. I really dig the bass sound and heavy riffing that he (or maybe she) gets out of the guitar in the middle of  “Buster Voodoo.”

“11:11” features a very pretty, mellow echoing lead section, its kind of trippy rather than frenetic, and there’s some cool tricks that Rod pulls off that sound fantastic.  “Savitri” has some more great riffs and some cool percussive playing from Gab–it turns into a pretty fast and furious song.

“Tamacun” is from their self titled album and it elicits the biggest response, with Rod teasing out the riff and the audience singing along (to an instrumental).  The end is great with some terrific percussion from Gab as Rod wails away.

This does not compare to actually seeing them, but it’s a terrific performance nonetheless.

[READ: January 22, 2018] “Wheelers”

This rather long story seemed to be one thing and then turned into something else entirely.  As if maybe this is an excerpt from a novel rather than a short story (which I see now that it is).

The story begins with a boy talking about his family–his mother’s maiden name is Wheeler.

He grew up in a house with four sisters.  They were loud and demanding.  He tried to ride a wave between them, allowing hair braiding and the like, but they often turned on him: “You know when you mooned me and Faith? We saw your balls and they looked shrimpy.”

The girls’ were nicknames Itsy, Bitsy, Titsy and Ditsy (the dad changed Titsy to Mitsy, wisely). (more…)

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SOUNDTRACK: BIDINIBAND-The Carleton, Halifax, Nova Scotia (December 6, 2009).

There are two recordings of this show up on RheostaticsLive.  There’s an audience recording of the full show, and a soundboard recording of the first set.  Normally the Soundboard is the recording of choice, but the quality of the audience recording is really good and has a bit more ambiance.

Dave greets the folks: “Hello its great to be in Halifax, port city.”

They open with the Rheostatics song “Fat.”  They mess up a few words in “Fat” and Dave goes, “yea, something like that.”  The song is generally slower and less angsty than the Rheos’ version.  The middle section has a real jazzy feel.

He introduces the next song “Desert Island Poem,” “This is a wintertime song for the first snowfall of the year.  It’s really bad snow in this song.  The worst kind of snow.  Cannibal snow.”  Before the songs he says, “We’ve been giving Leo Sayer a hard time. [not elaborated upon].  We’re gonna lay off Leo Sayer for this one.  They change the line to “Pantera and Slayer eat their drummer–who will cool and season the body?”

“Paul and Donna” is a sweet, catchy song.  Dave says “The song was written for Paul and Donna’s wedding.  It’s a wedding song.  “Stairway To Heaven” was a wedding song. Marriage of an evil maiden and a bewitching knight.”

He talks about getting his first photo shoot and addresses “Molly”(the opening act): have you done a photo shoot yet?  It’s so weird isn’t it?  One day you’re trying to play “Two Tickets to Paradise” in a mirror and then some weirdo is taking your picture.  They talk about travelling and a taxi driver asking what kind of music they play. New Wave?  Contemporary.  And while one of them said, yes exactly, Doug said, “straight ahead rock.”  When they ask who you play with they always assume you’re in the The Hip. Its’ cute to disappoint them.  “Not that I was wishing…..”  Being in this band is like being in The Hip.  Dave: “Yea right, $10,000 to be in the Hip?  Yea, I would too.”  Back to the photo shoot, it was in a bowling alley.  The guy said he was a musician too–guys, listen to this story it’s really good.  (Sorry Dave).  He says he wrote a song that’s going to be famous.  It’s called “Led Zeppelin Town” where all the heavies go to when they die.”  Before beginning Wild Ride, Dave starts singing a made up chorus of Led Zeppelin Town.”  The whole song is a short rocker.

“Yemen” has that great guitar line that I really like.  Then Dave says, “Mike O’Neill will you join us–it’s a cavalcade of stars tonight– a cavalcade of ‘staches.”  They sing the O’Neill song “Mr Carvery.”  At the end of the song he says, “one of Ontario’s finest exports.”

“The Continuing Saga of Canadiana and Canadiandy” is an imagined comic book loosely based on the lives of Paul Linklater and Don Orchard.  Only geographically I suppose and their misadventures across Canada.  Doug Friesen starts it with an electric bass solo–Doug I’m really looking forward to this bass part.

“Big Men Go Fast on the Water” has a very pretty chorus.  At the end, he confesses, “that song totally has no ending yet endings are hard.  Come back tomorrow night to hear the ending.  We’ll leave you shy and ending and you’ll have to come back tomorrow to see if we finish it. But we’ll leave a different ending shy tomorrow.  It’s in the handbook… on page 48.  Someone asks, “Is that song your ode to the jet ski…?  Part of the 14 songs you wrote about Lake Ontario and how its being destroyed?  Yes 30 in 30 swim drink fish club, the waterkeepers online music club.  It’s true, you can go download them.  Whoo!  Lets hear it for downloading!  Dave: “How was the gig?  It was a big downloading crowd.”

They play a groovy version of “Earth Revisited.”  The end is stretched out with a nice jam with Dave saying Keep Going and them singing “Keep Going” as backing vocals.  Dave says that song goes back to 1994.  Doug the bassist says, “I was 6….  Maybe I shouldn’t have said that.”   Dave says the young blood is what keeps him going.  During the applause they confirm that “Halifax is a really big Doug town.”

“The Ballad Of 1969” is a song about a lesbian school teacher.  The best.  After a verse, he messes up the lyrics, and says hold on hold on but they keep going with that groove and he catches up.   It’s a great song with and excellent guitar solo and multiple parts.   And interesting story song that is enjoyable multiple times.

They end the first set with “Stolen Car” featuring Ruth Minnikin on vocals.  I don’t know her and her delivery is a little flat (in fairness, it’s a challenging song).  But overall the song sounds good.

We don’t usually do breaks but Mike said he wouldn’t pay us unless we did.  This is the second song from our record The Land is Wild.  I have enjoyed this song, Memorial Day” more and more with each live rendition.  The band seems to be really gelling on this song.  The melody is great and the lyrics are really strong.  Linklater makes some great roaring guitar noises in the middle of the song that sound intense.

Show of hands for those who like to rock.  Solid.  They like to rock and they like to download in Halifax.  This is called “We like to Rock.”  It’s a folkie song, fun and all that, which is not all that loud or heavy.  Doug says, “We like to rock at a reasonable volume.”

We’d like to invite Ian on stage. It’s our first time ever laying with a saxophone player on stage.  Ian how do you feel about what you’re about to do?  “I’m excited and nervous.”  Dave asks, “Do you like the movies, Ian?”  “I love the movie I recently, rented Up.”  Pretty good eh?  “Great, I cried the first ten minutes.”  Someone in the audience goes “Squirrel!” and they kind of have to explain that joke.  “Popcorn” is a sort of song about the movies.  The song seems to sound a little different every time.  This one is more fun than usual. With a really long jam section–and lots of sax (that’s not too loud).

Before the next song the guitars are all playing some weird noises–flat picked notes, the bass sliding up and down.  And over this, Dave starts singing “Song Ain’t Any Good.”  The band kicks in after a verse and the song sounds great overall.

The download seems to be somewhat out of order here.   There’s a song about a Christmas Tree, which I can’t place.  The song segues into “The List” which has some different guitar styles and sounds great, especially the rocking guitar during the Stephen Harper verse.  It segues back to that “Hanging by the Christmas Tree on Christmas Eve” song which ends with some futzing around with guitar picking sounds.  They begin “The Last of the Dead Wrong Things.”  This sounds great with the drum solo in the middle (with Dave scratching his guitar strings throughout).

They call up Al Tuck and Dave thanks everyone for coming and Chris for loaning them stuff.   Al says, “I wanted to play my old song ‘I’ve Got to Hand It To You,’ but I’m not going to play that one.”  Then he says, “I wrote this on the piano: ‘What Kind of Soul.'”  He also says he wrote this one his daughter’s birthday.

Dave says it’s fun to visit a city and see friends who you don’t get to spend time with and to have them up on stage.  He talks about the first time he played Halifax.  He feels his life changed after that show–he talks a lot now, but he didn’t talk much back then.  He was less secure, but something changed him in Halifax.  He also says that after the second song they heard muted cheering and wondered where that was coming from.  There were like seven kids behind the back door of the club–they couldn’t get in.

Thanks to Molly for opening for them.

This song is about he life of Bryan Fogarty and it’s the best version of this song I’ve heard.   I love that he whispers “Let’s Go” before the slinky guitar line kicks in.  Linklater adds some great interesting guitar sections to the song.

It’s followed by a quite folky version of “Moncton Hellraisers.”  Note: “Unamplified, Band moving around the bar. Dave on acoustic, Paul on Al Tuck’s acoustic guitar, Don and Doug on tambourines A 13 db boost was added to make more audible.”  You can hear them wandering the floor.  And then it’s time for the solo.  Dave asks Paul:   “Want to stand on the chair so everyone can hear?  It’s a really good solo.”    “Woah–bad table,”  He cant get the solo right, and seems to be trying to climb back on the chair.  Finally he says, “Wanna get on my shoulders?”  The crowd loves it  (“watch your head man.”)  It’s sounds pretty spectacular: Dave plays the main part with Paul on his shoulders (I assume).  The crowd loves it.  Someone says, “That was the most interesting double neck guitar I’ve ever seen.”

Someone requests, Conway Twitty.  “None of us have the hair to pull off a Conway Twitty song.”

Instead it’s a rocking version of “Horses” which sounds very different with Martin not playing the solos.  But the song rocks through to the end where Paul seems to have the song degenerate with crazy warped noises until Dave starts playing the guitar intro to “Michael Jackson.”   It is quiet and has spoken verses.  It works perfectly as a show ender.

While Bidiniband will never match the Rheostatics for amazing live performances, Bidiniband has really upped its game over the years and they sound pretty great–and do seem to out on quite a show.

[READ: April 13, 2017] Sweet Tooth: In Captivity  

As happens with many series, I read the first book and then forgot the rest.  Well, conveniently for me, the remainder of the books were all in at the library so I grabbed them all and devoured them over a spring break.

“In Captivity” begins with a flashback.  In fact, the bulk of the story is about Jepperds.  We see him as a young hockey player–he’s a bruiser and he is currently beating up Jeff Brown.  In the locker room the announcers say that when a hockey player is reduced to that, it means the end of career is in sight.  And then we see him carrying a bag.  This is the mysterious bag that he received at the end of Book One.

Next we flash to Gus.  He is in captivity by a bald guy with red-tinted glasses.  He has just thrown Gus into a room with other “freaks.”  But the scenes with Gus are few and far between and soon we are flashing back to Jepperds again.

He is with his wife Louise.  She is watching something on TV and we soon learn it is a story about the Sick and how people are dying everywhere.  Jepperds wants to flee their house, but Louise thinks they are remote enough to be safe.  Louise doesn’t want to leave but Jepperds insists and tells her that when it’s all over he will bring her back home.

It is then that we learn that Louise is pregnant. (more…)

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