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Archive for the ‘Sly and the Family Stone’ Category

SOUNDTRACKRHEOSTATICS-The Beverley Tavern (October 28, 1983).

This is one of the first recordings of the Rheostatics live.  As the blurb says, the band was only a trio at the time (Martin Tielli had not joined yet).

It is amazing that a show this old sounds so good – not great but considering it is from 1983 not too bad. It is also weird as hell. I’m not sure if it was the 27, 28 or 29 of October 1983 but since the 27th is my birthday I’ll go with that date. [They later say it’s Friday night, which was the 28th].  I think this is a Triostatics show with just Tim, Dave B and Dave C.

Some of these songs don’t appear anywhere else.  Like the first one “Get Rich, Get Bored” which really shows off how new wave they were in the beginning.  It’s got a funky bass line with jagged new wave guitar from Dave and I assume Tim singing.

The band was really goofy back then too (not that they aren’t now, but a sort of wild goofiness pervades this evening.  Like Clark saying “I don’t know what the hell’s sitting behind the drum kit” and Tim letting everyone know that “anything’s possible on Halloween.”  Until someone helpfully yells “It’s not Halloween yet.”

“Chemical World” is one of those early new wave songs that they played a lot but which never made it onto Greatest Hits.

There’s some peculiar banter that is hard to hear but it sure sounds like they thought it was funny.

“we’re gonna change our name to R and then to H and then K?   What’s up next on the bill Mr Vesely?  It’s in the key of C.  You’re cheap, like your clothing.  Woman in audience: “but he’s not easy.”

Dave Clark says “Straight to Hell” is about Dave B’s father.  Tim sings in a weird style, over new wave guitar chords and a seemingly random bass.  The middle has a spoken word part with a drum and bass breakdown: “Now Richard, what seems to be the problem…   doesn’t know what to do–he’s going straight to hell.”

Dave B asks, “Satellite Dancing” Someone: “No!”  “Satellite dancing” “No!”

So instead they play “National Pride” another song that they played a lot but which didn’t make it onto the debut (which in fairness came out four years later.  Dave B says they released this song a long time ago and nobody bought it so they’re going to play it tonight and hope someone buys it.  Midway through Dave says “specials effects, Julia Child” and then sings in a crazy falsetto.  Then Dave says “What was Reagan doing on TV the other night?  Explaining why he had invaded a country the size of East Toronto.”  The song ends with a mangled opening of The Star Spangled Banner.

Dave says someone complained they weren’t going to come to the show, “aw you guys play funk. I don’ want to see you play funk.”  So they play a funky “Thank You (Falettinme Be Mice Elf Agin).”  They thank Rick the amazing man with the echo machine.  Tim says, before you take anymore pictures let me put my hair on.  As the song ends, Dave says, “who said the 70s are dead?  Not us I tell ya.”  “It was you!  In a drunken haze you said the 70s are dead.”

Clark: lets do all 70s songs about the word Monday.

Up next is “No Religion,” the b side of our National Pride single that nobody bought.  It’s a bouncy song with la la las, although I can’t really make out words.
Clark: The b side of Tim’s underwear.
Tim: “The dirty side. Oh my gosh I don’t say things like that.

Someone shouts, “chicken rap.”  Then they say “Do ‘Walk the Line.’  It’s Friday night!  Tim plays a minute long bass riff “okay, that was our cover of “I Walk the Line.”
Clark: “we play both kinds, country and western.”

It’s crowd participation night we want the guy who was dressed like an albino up here. (dressed like an albino?).
He left.
They play “Louie Louie” and ask for volunteers.  Someone comes up” “Ladies and gentlemen the Prince of Toronto.”  The guy sings a made up verse.  It comes to a wild crashing rumbling ending.  You can almost imagine them smashing things.

Clark: “Okay that means we have to do an encore.”
It’s a song by Chic called “Good Times.”  Tim plays the bass line more or less the right way but the song sounds different the way they play it.  Then comes “the highlight of the evening” Dave Bidini singing “Fly Robin Fly” in falsetto!

Definitely an unusual show, but I love Darrin’s name “Triostatics.”  I’m glad they didn’t stay a new wave band.

[READ: March 10, 2021] “The Specks in the Sky” 

I had put off reading this story because it was so long (19 pages!).  But I regretted putting it off as soon as I started it because this story was weird and wonderful. Until the end.

Set on a farm in the middle of nowhere, “two-hundred and twenty-five days after my father left home” the young narrator Ryder, along wither her older sister, Aileen, and her mother are outside when they see specks in the sky.

They don’t know what they are until the get closer and it becomes clear that these are men parachuting to the ground.  The parachutes are pink, the men are all in red jumpsuits.

The first man lands mostly gracefully and clears his parachute away.  He introduces himself as Commander Kyle Cheshire.  Slowly, thirteen more men fall out of the sky.  One of them is immediately taken with Aileen “a real beauty with long hair and breasts and everything.”  But before anyone can say anything the commander takes roll call.

That’s when they realize that Chip Gainsborough didn’t make it.  His parachute must not have opened. The men are very upset, none more so than Bud who bemoans his oldest friend–they used to go crabbing in Maine together when they were little.

Finally the mom asks them who the hell they are–army navy, what?  The commander regrets that everything is classified, he can’t say anything,  The only thing he can relate is that their plane had trouble 20,000 feet in the air and they all had to jump out.  But they will be acting lawfully under the terms and conditions outlined in Section 15 of the Parachuting Handbook, Landing Upon Civilian Property Clause No 33B where it sates explicitly that we are to assist the said civilians in any way we can during our stay on the civilian premises. (more…)

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SOUNDTRACK: RHEOSTATICS-Mowat Collegiate Late (1982).

This Rheostatics show dates all the way back to 1982, when the band was very very different.

This is the second oldest show I have been provided with to date… (based on the fact that Chemical World is introduced as a new song and it isn’t played on the other Mowat show on the site). From Mowat Collegiate in Scarborough it is slightly later in the year and has much clearer sound.

These old shows confuse me because I can’t tell who is singing.  To me it sounds like Tim singing lead on all the songs, but I didn’t think he was the main singer back then.  Or is it that Dave Bidini’s voice is so much different because they were all just babies?  I assume it’s Bidini doing the talking, and his voice is sure different (not Tom Waits different, but still).  I’m also not sure who is playing what.  I assume Tim is on bass, but he doesn’t usually play bass when he sings.  Dave Clark is also very quiet (he is usually full of jokes and poetry and whatnot).  I’m assuming that’s David Crosby (not that David Crosby) on lead guitar.

And somebody is playing with a high pitched oscillator type sound for the first few songs.  I wonder who is doing that while apparently playing their actual instruments. 

This set starts out with “National Pride.”  A funky, bass-slapping, bass-sliding song that shows that the early Rheos were far more into funk than anything else. 

The set (actually I guess it is two sets) is full of covers.  But each one is done in their new wave-ish ska-ish, not sounding anything like the original, style

The Kinks’ “Well Respected Man About Town” is almost unrecognizable with the bouncy bass in the verses and the entirely un-Kinks-like quality to the rest of the song.

“Chemical World” is described as new song (it’s one of the few from this era that has survived a little).  It starts out with Dave Clark on drums. It’s all new wave guitar and a lolloping bass.

“Girl in My Magazine” is a full-on ska song with bouncy guitars and a big fat bass.

Then they run through “Louie Louie” which sounds like the original in some ways–melodically–but it’s still got that big funky bass sound going on. 

Dave (or Tim) keeps encouraging everyone to come up and dance.

Up next is the “single which we’ll be handing out after our next set (we’re playing twice) called “Satellite dancing.”  It’s got the same basic sound but with a kind of blues riff underpinning the ska guitars.

As the song ends, someone says, stay tuned for Mark Malibu & the funky Wasagas.  Interestingly Mark Malibu & the Wasagas broke up in 1982, but reformed with all the original members in 2014 and have released three albums.

Presumably after a break and they are back with a new set of different songs.

This set opens with a lengthy bass intro and echoing reggae guitars which turns into a lengthy drum solo.  It’s called “Reggae Trenchtown Jam” and it’s basically just a nine minute jam.  In the middle of the song while encouraging people to dance, someone says, In Missouri and Kentucky they’ve outlawed… [can’t hear the rest].

Up next is “My Generation,” which is “on that record.”  This is , like The Kinks’ cover, a very unusual new wave version of the song–again almost unrecognizable.  Despite the prominent bass in this set, there’s no wailing bass solos like ion the original.  There is a wailing guitar solo though and the song jams out about five minutes.   

Up next is the shortest song of the night.  “Man of Action” is under three minutes with more of those reggae guitars.

Then comes a song by Sly and the Family Stone.  “Thank You (Falettinme Be Mice Elf Agin)” sounds like one of their own songs, they have so taken it over.  Surprisingly, given their funk, this sounds nothing at all like the original.  Even the super catchy chorus is done in a very different way.  They are indeed being Mice Elf.  There’s a jamming section at the end with some serious slap bass.

Up next is “an old ska song” called “The Suburb Shuffle.”  I can’t find anything about this song.  Although the introduction says “I’m sure everyone in Scarborough can relate to it.  It’s about green houses and black driveways and well-cut lawns and flowers in the sidewalks.   It has nothing to do with Martha and the Muffins.”  It is indeed a suburban ska song.

They end the set with “Shake Your Body Thang” and “we want everyone up on stage, especially Mark Malibu.”  I think this one musty be Tim singing.  The jam this one out for nearly nine minutes.  Mid way through, they invite people on stage.  There’s a break down when it’s just drums and vocals.  It’s got everything a 1982 collegiate rock band should have.

It’s impossible to believe that these are the same guys.

[READ: October 22, 2020] Lightfall Book 1

This is an enchanting first book in a new series. Tim Probert’s illustrations are wonderful–a fantastic soft palette and delightfully unusual characters.

Set in the land if Irpa, we first meet Bea and her cat Nimm. Bea is somewhat nervous by nature. Especially when it comes to a small jar with a flame in it which she is meant to be guarding.

Bea lives with her adoptive grandfather named Alfrid the Pig Wizard. Alfrid is, as the name suggests, a pig and a wizard and he makes potions for people. But he is also very forgetful. He leaves reminders for himself, but they don’t always help.

Bea ventures out to get some ingredients for a potion. She is in a tree, when the branch breaks. As she hangs on for dear life, a tall froglike creature walks past (on two legs), and as she falls out of the tree he catches her. The creature is Cadwaller, known as Cad. (more…)

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SOUNDTRACK: RHEOSTATICS-The Cabana Room, Spadina Hotel, Toronto, ON (December 23 1983).

This is “Rheostatics and Trans Canada Soul Patrol 1983 at The Cabana Room – Spadina Hotel Christmas Party show. Amazing sounding recording considering it is from 1983.”

As far as I can see it is the only recording of the band with the Trans-Canada Soul Patrol.  And that basically means that it’s a lot of these early songs only with saxophone–lots of saxophone (it seems like only one member sof The TCSP is there).  According to a cassette recorded in 1984, the band was:

  • Drums – Dave Clark
  • Guitar – Dave Bidini
  • Tenor Saxophone – Charlie Huntley, Dave Rodenburg
  • Trumpet, Flugelhorn – Ray Podhornik
  • Voice, Bass – Tim Vesely

So it seems likely that it was a similar e lineup in Dec 1983.  I only hear guitar bass and drums, but I can only hear one sax.  And does that mean that Tim was the main singer back then?

This show is loose, dare I say sloppy.  There’s a total drunken party vibe going on, as befits a Christmas Party.  But the most notable thing is that sax–soloing all over the place.  Dave Clark gets a lot of shout outs during the set–trying to get him to do a solo or “lay the groove.”  Before “Thank You” (the Sly and the Family Stone song), Dave tunes his guitar with harmonics and someone “sings” Rush’s “Xanadu” briefly.  The band puts a massive echo on the first chorus–it’s pretty obnoxious.  And in the middle of the song Dace Clark starts chanting songs: “Fly Robin Fly,” “You Should Be Dancin'” and “Convoy.”

During “Chemical World” someone asks “What do you think Ronald, am I better off dead?” and then there’s a shout out: “show us your teeth, Paul.”  (None of these guys are in the band, right?).  Someone jokes that Clark is still playing drums even though his mom said that playing drums is not a career.

It’s unclear what’s happening or how serious the band is but they tell people “watch out, guys, you broke a fuckin’ beer bottle, okay.”  They introduce “The Midnight Hour” by saying it’s a song written by Wilson Pickett called, “Go Fuckin’ Nuts, no I don’t know what it’s called.”

This is the only recording I know of with “Big in Business,” which they describe as “something marketable.”  And after two shows where “Man of Action” gets cut off, we finally get to hear it to the end.

By the time they do “Louie Louie” the whole thing is a drunken mess.  There’s shouts of Merry Christmas, comments about it being the last  time they’ll play in 1983, calling people up on stage.  It sounds like Clark is looking for his girlfriend.  “Louie” is a massive party jam with all kinds of people singing along, including a woman with a very high singing voice, and someone going “shock” like Peter Gabriel’s “Shock the Monkey” after each “Louie Louie” line.

The set seems to be over but then some one encourages them to sing “Shake Yer Body Thang,” which they do with lots of screaming and shouting and letting it all hang out.

It’s nice seeing a relatively young band acting so cool and comfortable and fun on stage, even if I’m really glad they got rid of the horns (and their whole sound).

[READ: August 28, 2016] In Short

Manguso’s book review of four books of aphorisms is fun because she (an aphoristic writer herself) breaks it down into 36 paragraph-sized chunks.  Including that “Hippocrates coined the word aphorism to describe his brief medical teachings.”

A few interesting things: She says that she doesn’t so much read prose as “root through it for sentences in need of rescue.”

John Gross, in his introduction to the Oxford Book of Aphorisms, says the word aphorism took on a moral sand philosophical tone after the Renaissance.  By the 17th century the definition included witticisms.

James Geary wrote The World in a Phrase: A History of Aphorisms and offered a five part definition of aphorisms: it must be brief, it must be personal, it must be philosophical and it must have twist.  But the best thing that Geary has said is: (more…)

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SOUNDTRACK: RHEOSTATICS-Mowat Collegiate, Scarborough, ON (1982).

This is (as of June 2017), the oldest Rheostatics show on Rheostatics Live.

And indeed, “Considering it is 34 years old it sounds remarkably good for a show probably taped off of a tape recorder”

This is in their very early days when they were a lot more funk and new wave.

There’s also a big distinction in that the guitar (or maybe keyboard, although I don’t hear any) is played by David Crosby (not that one) rather than Martin Tielli.  This was before Tielli joined the band.

There’s a note that this cassette may have been two sets on one night but it seems more likely that it was two different nights.  Same set list both sets.

The show opens with a recording of “O Canada” that seems to gets stuck as they launch into “National Pride.”  I can’t get over how many bootlegs there are of them playing this song and yet it never made it onto a release.  I feel like the ending using a twisted “Star Spangled Banner” is new (or I guess actually old).

This is one of the first occasion I’ve heard them play The Kinks song “Well-Respected Man.”  Their version is incredibly different and I wouldn’t have even recognized it except for the lyrics:

And he’s oh, so good,
And he’s oh, so fine,
And he’s oh, so healthy,
In his body and his mind

It’s all funk and slaps and a wholly different melody.  The guitar solo is very rudimentary as well–angular and noisy.  They also play Sly and the Family Stone’s “Thank You” with their own flavor to it–again nothing like the original.  It’s so far from the original that the subtitle is “(Falettinme Be Mice Elf Agin).”  It feels like every song is pretty much all slap bass –I can’t actually tell who is singing these songs Dave or Tim.

There’s an original “Satellite Dancing” and a cover of “Louie Louie” done in a new wave style with some really high angular guitar chords and a bass solo.

Clark describes “1984 For Those Who Believe” as a political song about “Poland and Russia and the Middle East an all of those fun things that happen in the world today.”

There’s a story that I can’t make out but the end is “We’re the Rheostatics and we’d like you to dance, okay” which segues into a seven minute “Shake Yer Body Thang,” which also has a lengthy funk bass section.

They introduce their “single released three months ago,” “My Generation.”  “It’s a dancing song, too.”  This song did get official release and it also sounds nothing like the original  “Girl in My Magazine” about Nancy Reagan–he keeps it under his bed at night.  It’s got a massive ska feel.  “Man of Action” funky bass and scratchy guitars (and maybe a keyboard?).  It gets cut off before the end.

The second set doesn’t have “O Canada,” but something else as an intro.  But they still open with National Pride and in this version you can really hear him sing,”Can’t live in the USA / too many enemies / can’t live in the USA / that place is not for me.”

“We’re the Rheostatics from Toronto, Ontario, this is a song dedicated to Russ Jones.” It’s called “Thank You (Falettinme Be Mice Elf Agin).”

“Satellite Dancing” from our single: dance and have fun which i hop you all will.  This set seems more fun than the previous one: chants of “dancing!” and a rowdier crowd.

“It’s called ‘Louie Louie’ and its a dance song.”

“1984 For Those Who Believe” is “dedicated to the National Guard, Mr Reagan and all his friends in blue.”  I wish I could hear the words better, I, curious what they’re singing about.

“This is called ‘Shake Your Body Thang’ it’s new and everybody dances, alright?”  There’s cowbell and other percussion during the funk breakdown.  They want to turn the whole building into one big rhythm section–“bang any two things together.”  “We’re going to keep doing this until you get it right…you shouldn’t smoke anyways, eh?”  It’s hard to tell from this recording if the crowd is into it.

A much shorter “My Generation” it feels like a bratty punk version of the song.  “Girl in My Magazine” it’s about Nancy Reagan–he keeps the dirty books in his closet so no one will find them.  And once again, “Man of Action” gets cut off.

It’s hard to believe that this band evolved into Rheostatics.  I wonder what they’d be doing now if they hadn’t morphed so much.

[READ: September 12, 2016] “Pet Seminary”

This piece is actually four excerpted sections from William’s Ninety-Nine Stories of God.

I have had a real problem with Williams’ stories–they just don’t do anything for me.  So having four even shorter ones is not the most exciting prospect.

#29 is a first person account of the narrators childhood in which his class was supposed to visit a slaughterhouse.  Cooler heads prevailed and they did not actually see into the abattoir, by the smell was unforgettable.  Later they learned of a pig who saved a man from drowning.  The owner said that pigs are more intelligent than dogs but are not omniscient. (more…)

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